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Khudaverdian, Clara. "The dancing body." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ39453.pdf.
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Davidson, Julia Rose. "Listening to the Dancing Body| Understanding the Dancing Body as Performative Agent within the Choreographic Process." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10096902.
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<p> The performativity of dance relies on the the power that different dance practices and choreographies have to shape culture, “making and unmaking” identities by “molding” the moving body (Franko, 2012). While theorists have connected dance technique and instruction to the perpetuation of larger cultural and historical ideologies, few methods yet have attempted a critical study of how performative impact is connected to a dancer’s own embodied experience. </p><p> Working from an understanding of embodied experience as central to the performative impact of dance, my research examines the dancing body’s role in constructing its own performativity. I begin with an analysis of how choreography “does” performativity, looking at historical changes in dance theory over time that have led to the imperative to examine agency specifically in relation to individually experienced embodiment. Current scholarship on the status of the 21st century contemporary dancer recognizes this need to study individual embodiment; dancers are creative agents within the choreographic process, able to alter the performative impact of a piece on the basis of how they learn or embody the movement. In order to substantiate this understanding of the dancing body’s agency, my research culminates in an interview project that includes dancers’ voices and lived experiences together with scholarship that prescribes agency and performativity to the moving body. Tracking a group of dancers through the process of learning new choreography, I attempt a method of understanding the moving body itself as communicative agent. The philosophical field of phenomenology supports such an understanding, viewing the body as having its own consciousness and perspective. In addition to phenomenology, I use critical ethnography and oral history practices to construct a reflexive interview process and affect theory to conduct a deep analysis of the dancers’ descriptions. Affect, being defined as those intensities, feelings and forces at the base of personal experience and social patterns, offers a way of comprehending dancers’ felt sense of embodiment from their own perspective. </p><p> An examination of affect within the dancers’ descriptions shows how the dancers’ linguistic moves parallel their diverse kinesthetic experiences of learning movement. The dancers’ heightened kinesthetic awareness throughout the process of learning choreography demonstrates how they experience their bodies in a different phenomenological way and ultimately how they enact performative impact through their very processes of embodiment. The resulting interviews, transcriptions and discussion in this project support practice-based research, in the form of phenomenologically-centered and analyzed interviews, as a way to include dancers’ embodied experiences in studies of the dancing body’s performativity. </p><p> Reference: Franko, Mark. "Dance and the Political: States of Exception." Dance. Ed. André Lepecki. London: Whitechapel Gallery, 2012. 145-48. Print.</p>
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Shrubsall, Gina M., University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "The dancing body makes sense of place." THESIS_CAESS_CAR_Shrubsall_G.xml, 2002. http://handle.uws.edu.au:8081/1959.7/805.
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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging<br>Master of Arts (Hons)
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Shrubsall, Gina M. "The dancing body makes sense of place." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/805.
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The grounded theory of this dissertation is that 'the dancing body makes sense of place'. This theory is investigated through hermeneutic praxis based on the theoretical perspective of phenomenology. In exploring how the dancing body experiences place, it is the processes that underlie and give form to dance that capture my attention. 'The dancing body makes sense of place' is a phrase that liberates the description and consideration of the non-verbal processes that underlie the dance/place interface. The phrase offers the possibility of communicating coexisting processes. Interpreted as 'the dancing body makes (sense of place)', the phrase suggests that the development of a 'sense of place' is an outcome of the action of dance. Whilst interpreted as 'the dancing body makes sense of (place)', the phrase implies the understanding of 'place' through dance. The hermeneutic praxis described in this dissertation, is comprised of memory retrieval sessions which allude to how the 'dancing body' experiences space, place and sense of place. During praxis, it emerges that the dancing body infers 'sense of place' through spheres of experience, that may be described as the; 'propriosphere, kinesphere, near-sphere', and 'far-sphere'. Praxis also reveals that the 'dancing body''s' relationship to place in integral in the development of a sense of belonging
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Shrubsall, Gina M. "The dancing body makes sense of place /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030929.102832/index.html.
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Thesis (M. A.) (Hons.) -- University of Western Sydney, 2002.<br>A dissertation submitted in partial fulfillmemt of the degree of Master of Arts, UWS Nepean, School of Contemporary Arts : Dance, July 2002. Bibliography : leaves 81-84.
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Acker, Shaun Albert. "Writing the aerial dancing body a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1002361.
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This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban’s choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.
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Pienaar, Samantha. "Boyzie Cekwana the South African dancing body in transition." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002376.
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Boyzie Cekwana is one of many black male dancers and choreographers that is currently receiving widespread support and recognition for his contribution to the field of contemporary dance in South Africa. Why certain images of the dancing body - as presented by this individual dance practitioner - are currently being promoted as artistically more viable than others by dance critics and the media is the central concern of this thesis. An analysis of the dancing body in contemporary South Africa must take into account the current post-apartheid condition, a condition of transformation and reconstruction that allows people greater freedom to select the country's leaders, popularize its heroes and heroines, market and capitalize on images and icons of a New South Africa. By opting to look specifically at a black male dancer, social appreciations of the body in terms of ethnicity and gender can be challenged. This latter area of research - the role of gender in the production, presentation and appreciation of the dancing body - is largely unchallenged in South Africa. Yet, if South African's want to truly rid themselves of the shackles of hegemonic rule, gender-construction is an area of social experience that needs intensive confrontation. Chapter one will suggest some of the obstacles that might limit the South African dance researcher seeking an indepth analysis of the black dancing body, taking into consideration the country's history of elitist and autonomous rule. Attention will be drawn to multidisciplinary sites of information that might assist the researcher in such an excavation. The context of the research, however, is less interested in historical descriptions of the dancing body than with current motivating factors behind the preferential promotion of certain images over others in contemporary dance. Personal interviews and observations will therefore also provide crucial resource material. In chapter two, a case study of Boyzie Cekwana will be made looking at his personal background and the way in which it may have informed his contemporary experiences as a black male dancer and choreographer. The underlying belief of such a case-study approach is that "it carries implications about the extents to which the resulting analysis is applicable to other similar cases" ¹. This individual analysis includes information gathered from persona1 interviews with Cekwana; the author's own observations and experiences of Cekwana' s work at the Vita FNB Dance Umbrella, the Grahamstown National Arts Festival, and the Durban Playhouse Theatre; and analyses of articles on Cekwana by journalists, and performance reviews by dance and theatre critics such as Adrienne Sichel (The Star Tonight!), Tommy Ballantyne (The Natal Sunday Tribune) and David Coleman (The Mercury). Further examinations in chapter three and four will assess to what degree Cekwana re-presents culture-specific images of gender-modelling in his own performing body and the bodies of his multi-racial and multi-gendered dancers in selected dances. To prevent placing sole responsibility at Cekwana' s feet for the representation of the dancing body to a society in transformation, the role of dance critics and mass mediators in this process of artistic communication will also be dealt with. It is hoped that the ensuing discussion will suggest the possible effects that present frameworks of aesthetic appreciation may hold for choreographers and dancers in the country's future cultural development; this involves confronting a still controversial issue in South Africa the relationship between dance and politics, choreographer and social responsibility. The thesis will round-off very briefly with suggestions to dance practitioners and educators in South Africa of alternative ways of perceiving and appreciating the dancing body based on gender, and· not just racial, constructions; this is especially invaluable in the light of current efforts to include dance as a core-curriculum subject in all schools.
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Samuel, Gerard M. "Dancing the Other in South Africa." Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/22781.
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At the centre of discourse of Dance in South Africa is the notion of Other. The form and approach in Contemporary Dance in South Africa in the 21st century has been shaped by cultural forces such as apartheid and colonialism. This thesis sets out a phenomenological study of Othering in Dance in South Africa through a hermeneutical unpacking of 'Older dancing'. Its critical question grapples with the notion of age as a new marker of alterity in Dance and asks: How does dancing the Other bring new ways of seeing bodies? The lived experiences of four categories in Older dancing: dancers, choreographers, directors and dance critics, in and outside of South Africa since the 2000s, will be analysed. My own position in each of the categories above has allowed me to participate in Contemporary Dance and the performing arts field in South Africa for over 45 years. A partial history of Contemporary Dance in South Africa is explicated in order to provide paradigmatic frames for this study. The philosophical enquiry of this thesis has foregrounded Dance Studies as a discrete research field in order to highlight dance and the body itself, and to reassert an enviable position of dancing bodies as research instruments and knowledge producers. A hermeneutical narrative analysis was deployed following twelve interviews that were conducted over 4 years (2012-2014). Seven South African and five non-South African 'voices' were analysed and coded against four primary lines of enquiry in Experience: notions of cultural inscription and dancing bodies as blank slates; questions of (in)visibility and frailty of older persons, wisdom and (in)dependent older dancers and the ontologies of marginalisation for Older dancing within concert theatre Dance. This suggested a thesis of wider Body-space reading and continuum for Dance that could be useful in understanding epistemology of prejudice. Recommendations that flow from this study will relate to Dance Studies in South Africa that is already moving away from its anthropological roots in tribal dances, experimentations with multicultural dance, towards unpacking intersectionality, public art and the contested label African dance. It provides Body-space as a further theoretical tool with which to observe dancing and bodies as states of becoming that will be of interest to Dance Studies, Performance Theory and Cultural Studies.
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Ramphal, Vena Radha. "A word on movement : thinking approaches to the dancing body." Thesis, SOAS, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420643.
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Kissell, Kristin. "Dancing Theology - A Construction of a Pneumatology of The Body." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/941.
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Dance is the language of the soul. Dance, as a theological source, can remind us of who we are in and with the living perichoresis of the Trinity. Dance, as embodied art, can provide us with a new way of viewing and discussing pneumatology and that we too, in our incarnate reality, participate in perichoresis. Within this work I seek to answer the questions of how dance is a source of theology, why a pneumatology of the body is significant, and how dance provides a framework for a pneumatology of the body. The creation of a pneumatology of the body is a rooting or re-membering of the Spirit and our own spirit in incarnational—skin and bones—reality that includes us in Trinitarian perichoresis. Pneumatology of the body is dancing with the Holy Spirit in our given time and space to retrieve the dignity of our embodied inspirited selves as made in the imago Dei. The gifts and fruits of the Holy Spirit are not abstract concepts. Through dance as embodied art we can move from abstract, intellectual concepts of the Spirit to incarnational truth of our flesh and blood, wounds and joys, where the Trinity dwells within and around.Dance as a source of theology can provide a framework for a pneumtology of the body. The Holy Spirit as relationality holding all of life together is our Holy Bridge. Within this work, we re-member our foundational belief in the interconnectedness of body and soul, and that we too participate in the Trinitarian perichoresis as part of God’s dancing revelation. In a world of division and duality, the Spirit as Holy Bridge brings us back home to the core of who we are individually and collectively, while dance provides a space for honoring difference and duality together in harmony. Dance gives expression to situations and things in our lives that are challenging to grasp conceptually and intellectually, while allowing for the embodied witnessing of a person’s and community’s story.A dancing theology as a framework for a pneumatology of the body reminds us that Spirit is our Holy Bridge between body, senses, feelings, challenges, and transformations, between my body soul temple and your body soul temple, and between individual and communal. By dancing with us in our daily lives, the Holy Spirit draws us ever deeper across loving bridges into communion with Trinitarian perichoresis. The Trinity is the Dance of Life in which the Spirit performs the role of empowering the never-ending communion and relational vitality that is God in and with Godself.
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Friesen, Constance A. "The raving body narratives, dancing ecstatically betwixt Nietzsche's Apollo and Dionysus." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65034.pdf.
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Liu, Chih-Chieh. "Corporeal pun : translations of the dancing body in Taiwanese popular culture." Thesis, University of Surrey, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540710.
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Finestone, Juanita. "The politics and poetics of choreography the dancing body in South African dance." Thesis, Rhodes University, 1995. http://hdl.handle.net/10962/d1002370.
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This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.
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Van, Oort Jessica. "Dancing in Body and Spirit: Dance and Sacred Performance in Thirteenth-Century Beguine Texts." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/45623.
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Dance<br>Ph.D.<br>This study examines dance and dance-like sacred performance in four texts by or about the thirteenth-century beguines Elisabeth of Spalbeek, Hadewijch, Mechthild of Magdeburg, and Agnes Blannbekin. These women wrote about dance as a visionary experience of the joys of heaven or the relationship between God and the soul, and they also created physical performances of faith that, while not called dance by medieval authors, seem remarkably dance-like to a modern eye. The existence of these dance-like sacred performances calls into question the commonly-held belief that most medieval Christians denied their bodies in favor of their souls and considered dancing sinful. In contrast to official church prohibitions of dance I present an alternative viewpoint, that of religious Christian women who physically performed their faith.
The research questions this study addresses include the following: what meanings did the concept of dance have for medieval Christians; how did both actual physical dances and the concept of dance relate to sacred performance; and which aspects of certain medieval dances and performances made them sacred to those who performed and those who observed?
In a historical interplay of text and context, I thematically analyze four beguine texts and situate them within the larger tapestry of medieval dance and sacred performance. This study suggests that medieval Christian concepts of dance, sacred performance, the soul, and the body were complex and fluid; that medieval sacred performance was as much a matter of a correct inner, emotional and spiritual state as it was of appropriate outward, physical actions; and that sacred performance was a powerful, important force in medieval Europe that various Christians used to support their own beliefs or to contest the beliefs and practices of others.<br>Temple University--Theses
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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.
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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.
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Durkin, Hannah. "The black female dancing body in the films and writings of Josephine Baker and Katherine Dunham." Thesis, University of Nottingham, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.575418.
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This project investigates the international film careers and writings of African American dancers Josephine Baker (1906-1975) and Katherine Dunham (1909- 2006) as dynamic sites of identity construction to illuminate the conflicting ways in which individual performances complicate categorisations of "race" and "gender." By exploring the ways in which these two artists mediate popular constructions of black women's identities, my investigation interrogates widely held conceptions of authorship and artistic hierarchies. It provides insights into intercultural identity formations by positioning black women's physical performances as sites on which historical struggles over cultural meanings have been played out and contested. Consequently, this study examines transatlantic struggles for control over pre-Civil Rights era cultural embodiments of black womanhood and seeks to establish these representations as not only diverse, but also deeply complex and polysemous. The thesis turns first to Baker and Dunham's writings. Chapter One analyses three of Baker's co-authored autobiographies, Voyages et aventures de Josephine Baker (1931), Une vie de toutes les couleurs (1935), and Josephine (1978); Chapter Two examines Dunham's anthropological memoirs, Journey to Accompong (1946) and Island Possessed (1969). I argue that these texts complicate contemporaneous racial ideologies and shed light on the autobiographical and intellectual underpinnings of dance performances that were, and continue to be, dismissed as exotic entertainment. Indeed, as with their dance performances, this thesis argues that Baker and Dunham's writings were acts of self-invention and re-invention, as they challenged rigid racial frameworks. I then turn to Baker and Dunham' s films to evidence the contrasting ways in which their performances were translated and received on both sides of the Atlantic. Chapters Three and Four scrutinise Baker's diverse performance strat~gies in French cinema, first as a silent performer and then as a glamorous "star"; Chapter Five considers Dunham's intervention in Second World War-era Hollywood racial codes and Chapter Six compares her representations with her reception in European post-war cinema. Together, Baker and Dunham' s films demonstrate that they sought to intervene in frequently demeaning cultural frameworks by adopting black diasporic dance formations as vehicles for artistic experimentation. Although their creative intentions were complicated by audience interpretations, I show how Baker and Dunham used dance performance to both engage with and contest contemporary racial and gender representations.
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Hulbert, S. "Dancing with Parkinson's : an exploration of teaching and the impact on whole body coordination during turning." Thesis, University of Southampton, 2015. https://eprints.soton.ac.uk/378386/.
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Parkinson’s is a common, progressive, neurodegenerative movement disorder of the central nervous system, presenting with particular impairment of the motor system. Despite a growing body of literature recommending the use of dance for the treatment and management of Parkinson’s, the exact impact and effect on turning ability has not been investigated. In addition, the experience of those teaching dance has also received little attention. The purpose of this research study was to explore the experience of teaching ballroom and Latin American dance classes for people with Parkinson’s (PwP) from a qualitative perspective alongside the main aim of investigating effects on turning in PwP from a quantitative perspective. Qualitatively, three dance teachers were approached to participate in semi-structured interviews before and after teaching dance classes for PwP over one year. A thematic analysis was undertaken using a framework approach, informed by the principles of Interpretative Phenomenological Analysis. Two dance teachers participated, with analysis generating four themes: 1) the role of adaptation, 2) the context and 3) practical application of the class and 4) how achievement was measured and the impact of the teacher. Quantitatively, twenty-four PwP were randomly allocated to receive either twenty, one-hour dancing classes over 10-weeks (n=12), or usual care (n=12). Using 3-dimensional movement analysis before and after the intervention period, measures of latency and horizontal movement of the eyes, head, thorax, shoulders, pelvis and feet, centre of mass displacement, and the total time of a 180 degree on-the-spot turn were taken alongside clinical measures. Statistical analysis (4-way ANOVA) demonstrated a significant four-way interaction for head latency (p=0.008), with mean values showing longer latency in the usual care. Similar trends were also shown in pelvis latency (p=0.077), first (p=0.063) and second (p=0.081) foot latency, with mean values suggesting longer pelvis latency and slower foot movement in the usual care group, although all results were affected by prediction and preference of turn direction. Significant between-group differences were also found for pelvis rotation (p=0.036), with the usual care group showing greater rotation. No differences were found in the centre of mass displacement, turn time or clinical measures. As a result of interpretation the main findings suggest a tighter coupling and greater co-ordination of all segments following dance. In conclusion, teachers’ expectations and experiences suggest a multidimensional impact of dance for PwP with importance of socialisation, increased confidence, level of achievement and participation, knowledge of which will support the development of dance classes for PwP. Specifically, body segments (head, pelvis and feet) appear more coordinated in time and sequence following dance in PwP, suggesting a more ‘en bloc’ turning pattern with greater inter-segmental coordination. However, this is influenced by direction of turn preference and prediction, with further research required to comment on the clinical implications.
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Cieslewicz, Lindsy Stewart. "Dance and Doctrine: Shaker and Mormon Dancing as a Manifestation of Doctrinal Views of the Physical Body." Diss., CLICK HERE for online access, 2000. http://patriot.lib.byu.edu/u?/MTAF,24559.
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Drozd, Natalia. "Tailbone-ing movement practice." Thesis, Stockholms konstnärliga högskola, Institutionen för dans, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-916.
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The main purpose of the essay is to serve as a documentation of my research practice on the movement of the tailbone and its connections to my dancing body. The essay is being written from my personal perspective which springs out of my interest in the importance of using the tailbone whilst dancing. In the first part of the text I have included personal information to the reader about where my interest in the movement of the tailbone arose. One of the methods during the research was to write a process diary as a way to combine a physical practice and writing practice. This process diary is now a big part of this essay. In the essay you as a redear can follow how the research has transformed and changed throughout working time on the project. The second part of the essay reflects on the process of researching the tailbone-ing movement practice and what the practical presentation should look like. In the last pages of the essay you find a choreographic score which is both a documentation of the practice as well as a score to perform it. Working on the essay opens up new possibilties for further research on the importance of the tailbone and the pelvic floor in the dancing body.<br><p>This master work includes both a performing and a written part. </p>
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Macpherson, Benjamin Jonathan. "The acting text, the dancing voice, the singing body : towards a model of somaesthetic performance analysis for musical theatre." Thesis, University of Winchester, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548201.
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This thesis offers a model for analysing live musical theatre performance through a focus on the embodied relationship between the actors and the audience. It presents a framework for analysing the bodily experience of performance, and the role of corporeality in understanding musical theatre. Throughout the study, this framework is developed by exploring aspects of performance studies and reception theory, along with related cognitive and neuro-biological research in support of such a position. The model is then tested through an examination of three contrasting musical theatre works in performance, analysing specific elements of the framework within - and against - conventional readings of embodiment, the actor/character duality, dance and movement, music and the singing voice. In conclusion this thesis finds that through a focus on the bodily relationship between actors and audience in live musical theatre performance, the many and varied theoretical approaches commonly taken to investigating such an interdisciplinary form can be set in discourse with one another, enhancing, challenging or generating alternative approaches to the way live musical theatre may be analysed.
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Kempton-Jones, Jessica. "“Tell me about it, Stud”: Queering the Dancing Male Body in Musical and Dance Films of the 1970s and 1980s." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33830.
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Heterosexuality is coded on-screen in many musical films from the last century as a “celebratory ideal.” 1 This thesis explores the queer possibilities of the so-called heterosexual male in three films spanning a decade from 1977 with Badham's Saturday Night Fever and Grease (Kleiser, 1978), to 1987's Dirty Dancing (Ardolino). Each of the films I have examined foreground heterosexual romance. However, by looking at the male body in these films I have argued for the ways in which the male, dancing body works against these films' assertion of a narrative heterosexuality. I have shown how these films can be read as queer by the way they highlight the performativity of the male body, and through their camp aestheticism which complicates normative ideas about desire, sexuality and gender. I interrogate claims emerging from work in musical genre theory, which describes the musical as “the most heterosexist of all the Hollywood filmic forms.”2 By examining existing theory on the role of the camp sensibility within musical film I argue that there are ways that the musical films analysed dismiss their narrative heteronormativity and instead mark themselves as queer. The films do this by aligning the performativity of dance with the queer discourse that uses as its cornerstone the notion of the performativity of gender and sexuality. I have argued that these films portray an embattled masculinity coming to the fore within society (and cinema) in the 1970s, into the 1980s. The chapters in this thesis are organised according to the analyses' of the three films. The chapters explore themes of camp aesthetics by understanding camp's tendency to disrupt the clear disparities between ‘being and seeming'.
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Lehman, Sarah. "Taking care of a dancing body an investigation of how anatomical knowledge effects a dancer's risk of injury and performance quality /." Connect to resource, 2008. http://hdl.handle.net/1811/32147.
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Szymajda, Joanna. "Esthetique de la danse contemporaine europeenne après 1990." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030107.
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La thèse de doctorat-ci présente est consacrée à la recherche sur l’esthétique de la danse contemporaine de ces vingt dernières années en Europe. Après une introduction méthodologique et historique, nous présentons dans la partie principale les quatre paradigmes du corps dansant : politique, critique, poétique et virtuel, ce qui nous permet de distinguer des courants esthétiques présents dans la danse européenne à partir de1990. Cette date n’indique aucun événement en particulier, mais elle renvoie plutôt à deux faits majeurs : un historique – la fin du communisme en Europe qui a permis le développement spectaculaire de la danse contemporaine ; et un autre– esthétique – l’arrivée de la danse conceptuelle en France. Tout en citant plus que cent cinquante spectacles vus lors des nombreux festivals et théâtres européens, nous analysons par le biais de ces quatre paradigmes du corps dansant, la proximité esthétique des artistes venant à la fois de l’Europe de l’Ouest et des pays postcommunistes. Ceci nous a permis de constater qu’il n’est point possible de distinguer des différences purement esthétiques entre la danse est-européenne et occidentale, surtout à cause de la nature nomade de la création chorégraphique. Notre conclusion est donc la suivante, qu’à moment présent la danse tend à une esthétique pluridisciplinaire sinon hybride qui dépasse facilement les frontières nationales grâce à des systèmes d’éducation et créations très marqués par l’esprit nomade. Ainsi, des particularités nationales consistent surtout sur des conditions spécifiques du développement de la danse et de la production, ce qui fait l’objet d’un commentaire dans un texte attaché en annexe<br>The present work is dedicated to the research on European contemporary dance aesthetics after 1990. Following short methodological and historical introduction, we present four paradigms of dancing body: political, critic, poetic and virtual, we distinguish the main aesthetics waves present in the dance in Europe within last twenty years. 1990 is not linked to any particular event but evokes two majors facts: one is historic - the end of communism in Europe, which allowed next a brilliant development of contemporary dance, the second fact is the apparition of the conceptual dance in France in nineties. By approaching the work of over eighty choreographers and hundred fifty performances seen on festivals and in the theatres all over the Europe, we are analysing via corps dansant the aesthetics proximity of the West- and Eastern choreographers. This analysis allowed us to make a statement, that there is no such a possibility to distinguish the differences on a pure aesthetical level between eastern and western European choreographers, namely because of the nomadic character of contemporary choreography. Our conclusion consist on fact, that the contemporary dance tend to a pluridisciplinary, hybrid aesthetics, and thanks to that the national frontiers are not an obstacle, especially because of the educational and creation systems marked by nomadic spirit. In consequences, the national particularities consist on specific conditions of dance development and dance production, which is an object of an analysis in annex
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Novella, Centellas Carolina. "When the Body is the Oppressed , or The Ma Project, Dancing a New Collective Story (Participatory Research on Communication for Social Change)." Ohio University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1307244804.
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Carter, Sandra. "The effect of an eight week aerobic dance program on maximal oxygen uptake of low, medium and high fit college age females /." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63155.
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Chultz, Gabriela Maffazzoni. "Coreografando em larga escala : corpo social, corpo dançante." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140952.
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Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação.<br>I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.
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Kiss, Dóra. "La saisie du mouvement : de l'écriture et de la lecture des sources de la belle danse." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2047.
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La thèse définit ce qui pourrait être une saisie du mouvement et interroge la possibilité d'écrire et de lire la danse. La belle danse, dont l'origine, la contextualisation, et la définition en tant que style sont présentés dans le premier chapitre est prise comme cas d'école. Le second chapitre est rédigé dans la perspective du scripteur et il présente une analyse de la notation Beauchamps-Feuillet. Le troisième chapitre, qui adopte le point de vue du lecteur, définit les règles implicites de la belle danse, déductible de l'analyse des sources, et propose une analyse de la "Türkish Dance" (c.1725), due au chorégraphe Antony L'Abbé et au notateur François le Roussau. La thèse se réfère aux recherches de Guillemette Bolens pour la compréhension de l'usage de l'empathie kinesthésique pour l'écriture et la lecture, comme à des recherches cognitivistes récentes (Alva Noë). Elle se réfère aux recherches d'Etienne Darbellay et à leur cadre théorique, par exemple la théorie de la métaphore (Jakoff & Johnson; Zbikowski pour son usage en musicologie) et la compréhension des processus mémoriels (Croisile). Elle prend en compte certaines études, cruciales pour la compréhension de la belle danse, de son écriture et de sa lecture (Francine Lancelot et Marina Nordera par exemple)<br>This thesis defines if dance could be grasps, and how. Belle danse is taken as a "cas d'école" for unswering this question. Belle danse's origin, contextualisation and definition are given in the first chapter. The second chapter embraces the scriptwriter perspective to analyse Beauchamps-Feuillet notation. The third chapter adopts the reader's perspective (if "reading" can mean "decode", " analyse", "interpret" and "perform".) This chapter explicits some of belle danse's rules that are implicitly explained in the sources. It analyses the "Türkish Dance" (c. 1725). This score —and this dance— has been choreographed by Antony L'Abbé, and notated by François le Roussau. This thesis is written in reference to Guillemette Bolens researches that takes in acount the use of kinesthesis for writing and reading actions. It points to Etienne Darbellay's research based both on "théorie de la métaphore" (Lakoff and Johnson) and memory's process understanding (Croisile), and to crucial researches on belle danse writing and reading, particularly those of Marina Nordera
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Gaule, Scott G. "Meeting up with the worlds of exercise and rave at the start of the twenty-first century : a story about young people, body culture, health and identity in changing times." Thesis, Liverpool John Moores University, 2005. http://researchonline.ljmu.ac.uk/5776/.
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Minozzi, Carolina Nicolino 1987. "Estados corporais : catalisadores de experiência na criação em dança." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285325.
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Orientador: Matteo Bonfitto Júnior<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T09:42:02Z (GMT). No. of bitstreams: 1
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Previous issue date: 2015<br>Resumo: A presente pesquisa tem como campo de investigação os "estados corporais" que permeiam as criações em dança contemporânea. A investigação, que possui um caráter teórico-prático, tem como principal fonte o diário de campo com registros e reflexões sobre processos de criação e exploração de "estados corporais". A pesquisa corporal se deu principalmente dentro do contexto do Núcleo Artérias (São Paulo-SP), dirigido por Adriana Grechi e, paralelamente, com o Grupo Vão (São Paulo-SP), coletivo de dança do qual a pesquisadora é integrante e codiretora. A partir da prática e das questões geradas por esse fazer, a dissertação traça paralelos entre artistas e pesquisadores que possam contribuir para a contextualização e problematização em torno do termo "estado corporal", discutindo os elementos presentes na criação artística e analisando qualitativamente as atividades experimentais da pesquisa. Desse modo, a reflexão emerge do entrelaçamento entre experiências em processos criativos, leitura dos materiais bibliográficos, análise de obras coreográficas e entrevista com artistas, com o interesse de abordar o campo de pesquisa "estados corporais" como catalisador de questões para a dança na contemporaneidade<br>Abstract: This dissertation has as its research field the "body states" that are related to creation in contemporary dance. The investigation, which has a theorist practical study, has as its main source the journey about experience of the "body states" creation. The body research mainly happened inside of the Núcleo Artérias (São Paulo-SP) context and at the same time with Grupo Vão (São Paulo-SP), a dance collective that the researcher is dancer and codirect. Taking the practice as a starting point, the dissertation draws parallel between artists and researchers that may contribute to the discussion around "body states" by discussing the elements in artistic creation and by qualitative analyzing of experimental activities of this research. By this way, the reflection emerges from de interlacement between the experience in creative processes, reading the bibliography, analyses of choreographic works and interviews with artists, aiming to approach the field research "body states" as a catalyzer of issues to the contemporary dance<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Duarte, Cicera Claudinea. "Efeito da dança samba na aptidão cardiorrespiratória e composição corporal de mulheres passistas." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/5/5160/tde-04022016-105011/.
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Introdução: As adaptações fisiológicas da dança samba são pouco conhecidas. A caracterização cardiorrespiratória e metabólica aguda e/ou crônica e da composição corporal como atividade física é pouco estudada. O samba é uma atividade intermitente que envolve movimentos dos membros inferiores, tronco e membros superiores simultaneamente. Objetivo: Verificar o efeito da dança samba na aptidão cardiorrespiratória e na composição corporal de mulheres passistas que desfilam em escolas de samba. Métodos: Participaram do estudo 26 mulheres, entre 20 e 40 anos de idade, distribuídas em dois grupos: Grupo-Passistas (GP): 13 passistas de uma escola de samba tradicional de São Paulo e Grupo-Controle (GC): 13 mulheres que não dançavam samba. Foram avaliadas as funções cardiovascular e metabólica pelo teste ergoespirométrico computadorizado e a composição corporal pelas dobras cutâneas. Foram realizadas sessões de ensaio de samba não padronizadas, sendo três sessões semanais, com duração de 60 minutos, por um período de 12 semanas. A frequência cardíaca (FC) variou durante os ensaios de 66% a 85% da FCmax atingida no teste de esforço e foi monitorada por cardiofrequencímetro. Resultados: Com a prática da dança samba houve aumento de 19% no VO2max e de 13% no PO2max (P < 0,001). Houve aumento da FC no pico do esforço de 3% (P < 0,022), da RERmax em 10% (P < 0,001). A massa magra aumentou um quilo (P < 0,004), a massa gorda diminuiu 12% (P < 0,001) e a porcentagem de gordura diminuiu 11% (P < 0,001). Conclusão: Houve melhora em todos os indicadores de aptidão cardiorrespiratória e de composição corporal com 12 semanas de dança samba. Estes resultados fornecem evidências adicionais de que esse estilo de dança tem efeitos significativos para a saúde<br>Introduction: The physiological adaptations of samba dance aren´t well known. Cardiopulmonary characterization and acute metabolic and/or chronic, body composition and physical activity are understudied. Samba is an intermittent activity that involves movements of lower body, trunk and upper body simultaneously. Objective: To determine the effect of samba dance in cardiorespiratory fitness and body composition of women dancers who parade in samba schools. Methods: The study included 26 women aged 20 to 40 years old, divided into two groups, Women Dancers Group: 13 dancers from a traditional samba school in Sao Paulo and Control Group: 13 women who did not dance samba. Cardiovascular and metabolic functions by computerized ergospirometry and body composition by skinfold were evaluated. Samba practice sessions were held nonstandard, three weekly sessions, lasting 60 minutes, for a 12 week period. The heart rate (HR) varied during the rehearsals of 66% to 85% HRmax achieved in the stress test and was monitored for heart rate monitor. Results: The practice of dance samba increased by 19% VO2max and 13% of PO2max (P < 0,001). There were HR increase in peak stress of 3% (P < 0,022) and RERmax by 10% (P <0,001). Lean body mass increased by one kilogram (P < 0,004), fat mass decreased by 12% (P < 0,001) and fat percentage decreased by 11% (P < 0,001). Conclusion: There was improvement in all indicators of cardiorespiratory fitness and body composition with 12 weeks of samba dance. These results provide further evidence that this dance style has significant health effects
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Pearce, Malcolm. "The Mandala dancers : a collaborative inquiry into the experiences of participants in a program of creative meditation : an investigation into a means of celebrating the wonderful in ordinary people." Thesis, View thesis, 1994. http://handle.uws.edu.au:8081/1959.7/315.
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The thesis is the result of an inquiry into the experiences of a group of people engaged in a Buddhist inspired creative meditation program, the main practice of which is the recognition and honouring of the spiritual dimensions, the divinity of self and others. The study employed a heuristic process of examining 'inner world' experiences. The inquiry was collaborative in the sense that its findings were not those of one person alone, but were a compilation of the results of interactions within the group. The inquiry was based on the hypothesis that creative meditation can facilitate changes in a person's perception of self and the external world. The principal aim was to explore into that possibility and investigate the group members' thoughts and feelings as to the main function, significance and eventual outcome of their practice. The investigation seemed to show that for the core group participants there were changes in self-understanding involving more self-acceptance. Changes in attitudes to relationships of various kinds also took place and these also seemed to involve the development of a greater degree of acceptance. With some participants the association of the practice with favourable co-incidence was an interesting but inexplicable feature. For some there was an identification of mind sets which seemed to have a bearing on the quality of meditation experience and its outcomes. The title of the study refers to the manner in which the meditations were often generated. A mandala, a symbolic picture, was designed by each participant and the features of this were imagined to move, sometimes dancing, through the meditations which followed. The second sub-title refers to an integral feature of the practice which was an attempt to arouse a sense of the wonderful as a quality of the people who were imagined to appear in the meditations.
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Manzke, Sabrina Marques. "Abambaé – “terra dos homens”: a invenção de uma brasilidade por intermédio da performance cênica do samba de roda." Universidade Federal de Pelotas, 2016. http://repositorio.ufpel.edu.br:8080/handle/prefix/3157.
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Previous issue date: 2016-10-10<br>Sem bolsa<br>O papel que a arte tem exercido no cotidiano tem possibilitado uma renovação na forma de pensar os objetos e as manifestações culturais. O fazer artístico possibilita um novo fazer cultural que tem fixado parte de sua preocupação na dimensão estética. Tem estado em evidência à contribuição cultural exercida por grupos artísticos que buscam na performance cênica apresentar diferentes manifestações populares e tradicionais. Este trabalho aborda a apropriação da corporeidade do samba de roda do Recôncavo Baiano realizada pela Abambaé Companhia de Danças Brasileiras, da cidade de Pelotas/RS. Expressão esta reconhecida como Patrimônio Cultural Imaterial do Brasil em 2004 e posteriormente, em 2005, como Obra Prima do Patrimônio Oral e Imaterial da Humanidade pela UNESCO. Com foco na corporeidade e na criação coreográfica enquanto (re)significação cultural, na maneira como os atores expressam seus sentimentos através da dança, e, a partir de uma pesquisa embasada nos métodos da antropologia da dança e da etnomusicologia, busquei compreender os elementos técnico-expressivos desta tradição centenária que permeia ritual, religiosidade e sociabilidade, e o processo pelo qual eles se transformam através da composição coreográfica para a cena. A partir deste estudo pode-se perceber a apropriação do samba de roda e as reinscrições a partir do corpo e da poética empregada pelos bailarinos, compondo assim a estética desejada pelo grupo. No caso específico da Abambaé se evidenciou que a companhia através do seu trabalho acaba por “criativamente, inventar” um novo Brasil. Com um entendimento e estética próprio, o Brasil da Abambaé, diverso e alegre e que o samba de roda está diretamente ligado a esta representação de Brasil que a companhia busca mostrar tanto em nível nacional como, e principalmente, internacional.<br>The role that art has played on everyday life has enabled a renovation concerning the way of thinking cultural objects and manifestations. The artistic doing enables a new cultural doing that has fixed part of its contribution on the aesthetical dimension. The cultural contribution provided by artistic groups that seek to present different popular and traditional manifestations through scenic performances has been in evidence. This work approaches the corporeity appropriation of the samba de roda from the Recôncavo Baiano carried out by the Abambaé Companhia de Danças Brasileiras in the city of Pelotas/RS. This expression was recognized as part of the Brazilian Non-material Cultural Patrimony in 2004 and later, in 2005, it was considered a Masterpiece of the Oral and Intangible Heritage of Humanity by the UNESCO. Focusing on the corporeity and choreographic creation as cultural (re)signification, on the way actors express their feelings through dancing, and through a research based on methods of the anthropology of dancing and ethnomusicology, I sought to understand the technical-expressive elements of this centenary tradition that permeates ritual, religion and sociability, and the process by which they are transformed by the choreographic composition for the scene. From this study, it is possible to perceive the appropriation of the samba de roda and the reinscriptions through the body and the poetic movement employed by the dancers, composing the aesthetic element desired by the group. Concerning the Abambaé, specifically, it was possible to perceive that the company “creatively, invents” a new Brazil through its work. With its own comprehension and aesthetics, the Brazil from the Abambaé is diverse and joyful, and the samba de roda is directly associated with this representation of Brazil that the company seeks to present on a national and mainly international level.
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Nascimento, Diego Ebling do. "Macho, bailarino e homossexual: um olhar sobre as trajetórias de vida de professores dançantes." Universidade Federal de Pelotas, 2013. http://repositorio.ufpel.edu.br/handle/ri/1794.
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Previous issue date: 2013-02-07<br>The present research aims to analyze, from narratives, professional dancers‟ life trajectory, who currently understand them as homosexuals, are under-graduated in Physical Education, and work with dancing. It was analyzed the impact and consequences of homosexuality on these professional teachers‟ career, besides describing their family relationship, their primary academic qualification, and their labor market. The sample was comprised of five professional dancers/teachers. The methodological reference being used was qualitative wise. As the purpose of the research is not limited to a single case, but to a pre-selected group of professional dancers/teachers, the adopted procedure for data collection was a multiple-case study. It was chosen, therefore, a life trajectory‟s study case. The research was made by means of a thematic semi-structured interview. An intentional sample was chosen, as the selected sample is formed by individuals who work with dancing, are openly homosexuals, and whose academic career was in Physical Education field. In order to process the data, the content analysis technique was used. The results show that mothers are present as the major family reference and demonstrated, likewise fathers, their concerns relating to teachers‟ low pay. Today all families accept homosexuality. The Catholic religion, however, sprang the feeling of inferiority in two interviewees. All the interviewees found through body practices a greater acceptability from workmates and friends. Concerning labor market, it was identified a preference for working in non-formal environments, the existence of few public policies for dancing in Rio Grande do Sul, that prejudice is still present in both formal and non-formal workplaces, and that there is a concern relating to who is integrated in the labor market, since many dancing classes tutors do not have the necessary formation, according to the interviewees. It is believed that the present research contributes scientifically for gender and sexuality studies. However, many studies related to this theme can still be put into practice.<br>A presente pesquisa teve como objetivo analisar as trajetórias de vida, a partir das narrativas dos profissionais da dança que atualmente se reconhecem homossexuais, são formados em educação física e trabalham com a dança. Verificarmos o impacto e as consequências da homossexualidade na trajetória profissional destes professores, além de descrever a relação familiar, a formação inicial e o mercado de trabalho de cada um dos profissionais. Os sujeitos foram compostos por cinco professores/bailarinos. A referência metodológica foi pautada na perspectiva qualitativa. Como a proposta da pesquisa não se limita a um único caso, mas a um conjunto de professores de dança/bailarinos pré-selecionados, o procedimento adotado para coleta de dados foi o estudo de casos múltiplos. Optamos, então, pelo estudo de casos de trajetórias de vida. A pesquisa foi realizada através de uma entrevista temática semiestruturada. Escolhemos realizar uma amostra intencional, tendo em vista que os sujeitos que atendem ao perfil desejado pelo pesquisador foram os indivíduos que fizeram sua trajetória acadêmica na área da educação física, trabalham com a dança e se assumem homossexuais. Para tratar os dados, utilizamos a técnica de análise de conteúdo. Os resultados revelaram que as mães apareceram como maior referência familiar e demonstravam, como os pais, inquietações motivadas pela baixa remuneração dos professores. Atualmente, todas as famílias aceitam a homossexualidade. A religião católica despertou em dois entrevistados o sentimento de inferioridade. Todos os entrevistados encontraram nas práticas corporais um meio de maior aceitação de colegas e amigos. Quanto ao mercado de trabalho identificamos que há maior preferência por trabalhar em espaços não formais, que são poucas as políticas públicas para a dança no Rio Grande do Sul, que o preconceito ainda está presente tanto no espaço formal quanto não formal e que foi demonstrada preocupação com quem está no mercado de trabalho, pois os entrevistados consideram que muitos ministrantes de aulas de dança não tem a formação necessária para estarem atuando. Acreditamos que a presente pesquisa trouxe contribuições científicas para o âmbito dos estudos de gênero e sexualidade. No entanto, muitos estudos relacionados a esta temática ainda podem ser realizados.
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Liberman, Flavia. "Delicadas coreografias: instantâneos de uma terapia ocupacional." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/15625.
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Previous issue date: 2007-10-03<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Taking cartography as its methodological trajectory, this paper aims at describing,
discussing and, above all, articulating a series of experiences carried through in
different clinic contexts occupational therapy clinic, graduation teaching and
groups of study using body approaches to promote the meeting between bodies/
individuals.
The records outlined here are meant not only to present the procedures that guide
the clinic, but also to identify and question some of their conducts through the analysis
of scenes, lines and statements. The referred records were reached through the
assemblage of text and photographs that seek to catch snapshots of body expression.
Theoretical studies on body and subjectivity not only related to occupational therapy but
also to philosophy, art and education contribute to reach the concept on what was
effected in the bodies as a result of the meetings between the participants and the
suggested proposals.
Throughout seven series of procedures warmingup,photographing, looking,
touching,moving and pausing,improvising,talkingandstop talking some concepts
are discussed from the experiences and wander around objective and subjective,
visible and invisible, individual and collective aspects. The verbs in the infinitive
used throughout the thesis, on both the naming of the series of procedures and the
contours that close this paper, aim to express the dynamism of the processes.
Inspired by Espinosa, Stern, G. Deleuze and F. Guattari among others, the
investigations carried through here are guided by the idea that the capacity to affect and
to be affected constitutes an engine for the individual to get closer to their own and
other s body, to/in environments. When getting closer takes place, it sometimes creates
events in different modulations of intensity, capable of mobilizing affection, thoughts,
images and memories likely to be recognized and shared by the group.
In this thesis I adopt as reference S. Keleman s conception of the body
constructed by several vectors. It is the notion of body as pulse, open and connective,
one that supports my practice, because it is in such meetings that getting closer takes
place, turbulences occur, production of other existential repertoires solidify and can
be expressed. Small events may resonate in other ways of functioning, living and
presenting before the other, creating realities.
Thus, this paper concerns a possible production of sensitivities: more closely
related to the vital pulse itself, to the contacts with the individual and with other worlds,
enabling deeper readings of the living, of the body and of the possibilities to construct
other ways to exist, particular ones, resistant to the attacks and to the social models that
restrict the power and the production of creative and vibrant realities of life<br>Tomando a cartografia como percurso metodológico, esta tese procura descrever,
discutir e, sobretudo, articular uma série de experiências realizadas em diferentes
contextos clínica da terapia ocupacional, docência em cursos de graduação e grupos
de estudo em que se utiliza abordagens corporais para promover o encontro entre
corpos/sujeitos.
Os registros aqui delineados não têm como objetivo apenas apresentar os procedimentos
que pautam a clínica, mas identificar e problematizar algumas de suas linhas
através da análise de cenas, falas e depoimentos. Tal registro se faz por meio de uma
composição entretexto e fotos, nas quais se procuracaptar instantâneos de expressividade.
Estudos teóricos em torno do corpo e da subjetividade não só no campo da terapia
ocupacional, mas também na filosofia, arte e educação contribuem para conceituar
aquilo que se efetuou nos corpos como efeito dos encontros entre os participantes e as
proposições sugeridas.
Ao longo de sete séries de procedimentos aquecer, fotografar, olhar, tocar,
moverepausar,improvisar,conversaresilenciar alguns conceitos são discutidos a partir
do vivido e transitam por aspectos objetivos e subjetivos, visíveis e invisíveis, individuais
e coletivos. Os verbos no infinitivo utilizados durante toda a tese, tanto na
nomeação das séries de procedimentos quanto nos contornos que finalizam este trabalho,
procuram expressar o dinamismo dos processos.
Inspirada por Espinosa, Stern, G. Deleuze e F. Guattari, entre outros, a discussão
aqui realizada está pautada pela idéia de que a capacidade de afetar e ser afetado
constitui um motor para o sujeito aproximar-se do próprio corpo, do corpo do outro,
dos/nos ambientes. Em tais aproximações criam-se por vezes acontecimentos, em diferentes
modulações de intensidade, capazes de mobilizar afetos, pensamentos, imagens,
memórias que podem ser reconhecidas e compartilhadas pelo grupo.
Neste trabalho adoto como referência a concepção de corpo proposta por S. Keleman,
construída por vários vetores. É a noção de corpo como pulso, aberto e conectivo,
que dá sustentação a esta clínica que desenvolvo, pois é nos encontros que
aproximações se fazem, turbulências acontecem, produções de outros repertórios existenciais
se solidificam e podem ser expressos. Pequenos eventos podem reverberar em
outros modos de funcionar, viver e se apresentar frente ao outro, criando realidades.
Assim, este trabalho diz respeito a uma possível produção de sensibillidades:
mais atentas ao próprio pulso vital, aos contatos com o outro e com os mundos, permitindo
leituras aprofundadas do vivo, do corpo e das possibilidades de construção de outros
modos de existir, mais singulares, resistentes aos ataques e modelos sociais que
restringem as potências e a produção de realidades criativas e pulsantes de vida
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Chatagnon-Weiler, Pauline. "Claude Pujade-Renaud ou le corps en ses métamorphoses." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1014.
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De la danse à l’écriture, le parcours de Claude Pujade-Renaud se caractérise par l’hétérogénéité des pratiques sportives, artistiques, universitaires et littéraires. En soulignant les rapports étroits de l’histoire vécue et de l’œuvre littéraire, cette thèse met l’accent sur les interactions permanentes entre les mots et les corps. L’étude du corpus, composé de treize romans, cinq recueils de nouvelles, une correspondance et une« duobiographie », montre combien l’écriture se construit bien avant les premières publications. Elle se nourrit des premières confrontations aux mots et à la langue orale ou écrite, s’inscrivant dans un rapport singulier aux personnes, aux lieux et aux temps. Pressentie, l’écriture devient quête d’une histoire tue. Il s’agit de montrer de quelle manière Claude Pujade- Renaud interroge l’usage de la forme – romanesque, novellistique,« duobiographique » ou épistolaire – pour ressaisir un personnage et l’usage-même de l’écriture. Il s’agit aussi d’étudier les métamorphoses du corps à travers les âges et l’évolution de son rapport aux mots. A travers des étapes successives – vie fœtale, enfance, adolescence, âge adulte et extrême vieillesse –on assiste moins à une réflexion sur le temps qui passe qu’à une méditation sur ce que les mots, dits, écrits, tus, font naître d’eux. Réinterrogeant les âges, les mots conduisent alors à la quête intime d’une identité singulière<br>From dancing to writing, Claude Pujade-Renaud’s personal trajectory is characterized by heterogeneous sporting, artistic, academic and literary activities. With a heavy emphasis laid on the tight links between real-life stories and narrative plots, this Phd thesis stresses the permanent interactions between bodies and texts.The idea that a literary work is shaped well before its publication will be developed thanks to the analysis of a body of reference works made up of thirteen novels, five collections of short stories, a literary correspondence and a dual autobiography.A literary work is enriched by the initial attempts to put it down into words, using a written or an oral language. Hence, it establishes a particular relation to people, places and time.As an element that is often only sensed, the process of writing seeks to transcribe an untold story. This Phd thesis will show to what extent Claude Pujade-Renaud questions literary genres – a novel, a shot-story, a dual autobiography, a correspondence – to recapture characterization and the necessity of writing. Also, this thesis focuses on bodily metamorphoses throughout time and the writer’s evolution in her choice of words. Through the successive steps of foetal life, early childhood, adolescence, adulthood and old age, we are not just led to consider an analysis on time passing by, but rather, a meditation on the creative potential of words, when they are written but also when they not uttered. As words re-examine the various ages of life, they guide use during an intimate quest for a particular identity
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Hernandes, Janete Capel. "Qualidade de vida e imagem corporal de mulheres que praticam dança do ventre." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9105.
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Previous issue date: 2018-09-25<br>Introduction:This thesis was elaborated on the basis of scientific articles. It is observed that women have undergone several changes in the social, family and professional fields, and have conquered spaces in society, which has been positive; on the other hand, this has negatively impacted their quality of life and their body image. In this context, belly dancing has been sought as an alternative to this problem. Objective: To analyze the quality of life and body image of women who practice belly dancing. Method: two articles. 1) Systematic review elaborated according to PRISMA (2009), of quantitative studies registered in electronic platforms, identified with the descriptors quality of life, dance and women, in Portuguese, English and Spanish, and published until June 30, 2017, in any local. The mean and standard deviation of the quality of life outcomes were compared, with a significant difference. We used reference management software and bias risk assessment. The article was prepared by two independent reviewers. 2) Cross-sectional study according to STROBE (2008), using a sociodemographic questionnaire, WHOQOL-bref and Body Shape Questionnaire (BSQ), Statistical Analysis of Chi-square, Cronbach's Alpha, Kruskal-Wallis and Spearman correlation, with significance level 5% (p <0.05). Results: 1) Review of nine randomized clinical trials that used four instruments to assess the quality of life of overweight, cancer, fibromyalgia or non-health-related women; age from 20 to 64 years old, practicing belly dancing, zumba, circular dance, and Dance Movement Therapy (DMT) for a period of three to sixteen weeks. Studies analyzed in subgroups, with significance in the results of eight of them, with improvements, mainly in the physical and psychological domains of quality of life, with the intervention of some type of dance for at least eight weeks. 2) A cross-sectional study with 98 women, mean age of 32.8 (± 10.4) years. Among those surveyed, 89.8% had no concern with body image; 7.1% showed mild concern; and 3.1%, moderate concern. The following were found: positive correlation between the preoccupation with body image and BMI (r = 0.52, p <0.01); (r = -0.50, p <0.001) and environmental (r = - 0.35, p = 0.02) in women who practiced dancing for less than one year, and in the social domain (r = - 0.61, p = 0.01), those who practiced dance for six years or more; and positive correlation between the environmental domain (r = 0.29, p = 0.01) and dance time. Conclusions: In the systematic review, it was verified that dance improves the quality of life of adult women in the physical and psychological domains, when practiced at least twice a week, for at least eight weeks. In the cross-sectional study, there was a positive correlation between preoccupation with body image and measures of BMI, and between time of belly dance practice and quality of life; and negative correlation between quality of life and preoccupation with body image.<br>Introdução: Esta tese foi elaborada com base na modalidade artigos científicos. Observa-se que as mulheres têm passado por várias mudanças nos campos social, familiar e profissional, e conquistado espaços na sociedade, o que tem sido positivo; por outro lado, isso tem impactado negativamente a qualidade de vida e a imagem corporal delas. Neste contexto, a dança do ventre tem sido procurada como alternativa a essa problemática. Objetivo: Analisar a qualidade de vida e a imagem corporal de mulheres que praticam dança do ventre. Método: dois artigos. 1) Revisão sistemática elaborada conforme o PRISMA (2009), de estudos quantitativos registrados em plataformas eletrônicas, identificados com os descritores qualidade de vida, dança e mulheres, em português, inglês e espanhol, e publicados até 30 de junho de 2017, em qualquer local. Comparou-se a média e o desvio padrão dos resultados de qualidade de vida, com diferença significativa. Foram utilizados os softwares de gerenciamento de referências e avaliação do risco de viés. O artigo foi elaborado por dois revisores independentes. 2) Estudo transversal conforme o STROBE (2008), tendo como base: aplicação de questionário sociodemográfico, WHOQOL-bref e Body Shape Questionnaire (BSQ), Análise Estatística de Qui-quadrado, Alfa de Cronbach, Kruskal-Wallis e correlação de Spearman, com nível de significância 5% (p < 0,05). Resultados: 1) Revisão de nove ensaios clínicos randomizados, que utilizaram quatro instrumentos para avaliar a qualidade de vida de mulheres com sobrepeso, câncer, fibromialgia ou que não relataram problemas de saúde; idade de 20 a 64 anos, praticantes de dança do ventre, zumba, dança circular, biodança e Terapia pela Dança Movimento (TDM), por um período de três a dezesseis semanas. Estudos analisados em subgrupos, com significâncias nos resultados de oito deles, com melhorias, principalmente nos domínios físicos e psicológicos de qualidade de vida, com a intervenção de algum tipo de dança por, no mínimo, oito semanas. 2) Estudo transversal com 98 mulheres, idade média de 32,8 (± 10,4) anos. Dentre as pesquisadas, 89,8% não apresentaram preocupação com a imagem corporal; 7,1% demonstraram preocupação leve; e 3,1%, preocupação moderada. Foram constatadas: correlação positiva entre a preocupação com a imagem corporal e o IMC (r = 0,52; p < 0,01); correlação negativa entre a preocupação com a imagem corporal e os domínios psicológico (r =
- 0,50; p < 0,001) e ambiental (r = - 0,35; p = 0,02) em mulheres que praticam a dança há menos de um ano, e, no domínio social (r = - 0,61; p = 0,01), entre aquelas que praticam a dança há seis anos ou mais; e correlação positiva entre o domínio ambiental (r = 0,29; p = 0,01) e o tempo de dança. Conclusões: Na revisão sistemática, verificou-se que a dança melhora a qualidade de vida de mulheres adultas nos domínios físicos e psicológicos, quando praticada ao menos duas vezes por semana, por, no mínimo, oito semanas. No estudo transversal, houve correlação positiva entre preocupação com a imagem corporal e medidas do IMC, e entre tempo de prática de dança do ventre e qualidade de vida; e correlação negativa entre qualidade de vida e preocupação com a imagem corporal.
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Fogarty, Mary Elizabeth. "Dance to the drummer's beat : competing tastes in international b-boy/b-girl culture." Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5889.
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This thesis explores the relationship between musical tastes and dance practices in a popular dance style known as breaking or b-boying/b-girling. It is based on a multi-sited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often travelled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central. 'Vernacular' or street dancers make consistent claims that "it's all about the music." This is to challenge assumptions in current academic writing on the relationship of music and dance. On one hand, many contemporary dance writers argue that musical tastes have little to do with choreographic practices and the meanings of dance performances. On the other hand, sociological accounts of musical tastes rarely consider dance practice in their analyses. The result is that musical tastes are under-theorised in accounts of dance performance, and vice versa. Hennion's (2007) assertion that taste is an activity provides a foundation for a new argument. I propose that taste is an activity that, when theorised in terms of music and dance practices, suggests new epistemological avenues for studies of popular dance. Put simply, I argue that, in breaking practices, dance is a performance of musical taste. This performance of taste has a variety of avenues - from hip hop theatre performances, to international battles, master class workshops, club nights and local events – and in each new context, the relationship between music and dance transforms. These shifts in selection reveal that the dance is not just “about the music,” but also about how tastes are mediated, negotiated and competed over.
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Fritz, Vivian. "Danse et nouvelles technologies vers d'inédites écritures chorégraphiques." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC001/document.
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Les avancées technologiques, principalement au niveau des télécommunications, interrogent les formes de relation et les transferts d’informations dans le monde actuel. La danse contemporaine, affectée par l’usage des technologies sur la scène (image vidéo, internet, logiciel), voit se modifier les manières de chorégraphier. Si les éléments de base de la création chorégraphique, à savoir le corps dansant, l’espace scénique et le temps de la danse, sont transgressés par l’usage des technologies de la télécommunication (téléprésence), comment les chorégraphes pensent-ils et écrivent-ils la danse en incluant ces nouveaux paramètres ? Que peut perdre ou gagner la danse ? Assistons-nous à l’éveil d’une nouvelle danse, ou à l’émergence d’un autre art ? La redéfinition du corps dansant, en interaction avec son espace et son temps, se trouve au centre de cette recherche. Un projet pratique sous forme d’un laboratoire de création chorégraphique multidisciplinaire, Seuil-Lab, est proposé comme méthodologie de travail pour l’analyse théorique de cette recherche<br>Technological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab
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Sharir, Yacov. "Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1498.
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This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.
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Escobar, Ninoska M'bewe. "Auto/body/graphy and the black dancing body." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3515.
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This thesis considers how the Black dancing body constitutes both Black history and dance history by reading the body in Pearl Primus' Hard time blues, The Negro speaks of rivers and Strange fruit as physical auto/biography, or what I shall herein refer to as auto/body/graphy. The Black dancing body, because it is a repository of the Black experience, actively engages in the act of self-naming, self-shaping, and self-recognition. As such, it may be considered an auto/body/graphy that is situated in Black history, an instrument through which histories of origin and migration, struggle against oppression and colonialization, and the forging of identities and self-definition are inscribed and communicated. This thesis examines Primus' early choreographies as a discourse through which to consider the impact of Black cultural consciousness and the emergence of a Black aesthetic and Black corpo-reality in dance and theatre on the development of American modern dance before mid-century, and upon later choreographers who followed Primus.<br>text
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王維銘. "The journey of a dancing body." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/90160712076510258295.
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chuan, Hsu shu, and 許書銓. "Exploring Aspects of the Dancing Body Through Shell Body—A Site-Specific Production." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9s9eyu.
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碩士<br>國立臺北藝術大學<br>舞蹈研究所<br>107<br>This report is about Shell Body, a dance performance production, as partial fulfillment for my MFA degree from the Graduate Institute of Dance, Taipei National University of the Arts. The purpose of this production is to present a different form of performance and attempt to experiment with it: to return to state of dance performance, and try to think about how to use the performance training from a conservatory in nontraditional theater setting. Base on my experience of professional performance over many years, I re-think the relationship between performers and viewers once again. This report describes the project’s concept, planning, and my invitation of the three choreographers: Yu Yen-Fang, Lai Szu-Ying, Chien Lin-Yi. I also analyze my role as the performer/producer and discuss how I experienced a totally different sensitivity through this site-specific production.
The main goal of Shell Body is to explore issues of urban development and the civilization process of our life, in relation to the history and the modernization of Shell Company. This production consists of three pieces, taking history as the main axis to discuss urbanization issues. I will examine the process of three compositions. First,《The Analysis of the Tree》uncovers history through dance improvisation, to feel the outdoor atmosphere in relation to the environment. Second,《De-NominatING》includes elements from dancers’ co-creations, in addition to the literature and the history material used as text, to relate to the history of the Shell warehouse. Third, 《Re-》uses empty bottles to respond to the body memory. The bottles also create a high wall, to “build” and “collapse” in respond to energy issue from Shell.
Shell Body was performed at Tamsui Shell Warehouse. I research aspect of the dancing body through this site-specific production, and explore how my body was transformed in the process. Through the transformation, I discovered how dance improvisation can activate the people, and the memory around us, recreate our living space and re-open the discussion with history. Shell Body departs from the theater and the campus to experience different space and audience. Through this site-specific improvisation, I re-open up this space with audiences from different backgrounds, to re-experience and create more dialogue together.
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HSU, YI-YING, and 許伊瑩. "Study of Relationship among Body Image, Eating Attitude, and Body Checking Behaviors for Dancing Class Female Students." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/12542198222032745740.
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碩士<br>國立高雄大學<br>運動健康與休閒學系碩士在職專班<br>105<br>Dance is a very high aesthetic art, through the body, rhythm, etc. to express the emotions to be presented, dancers often peer, teacher and audience under the pressure of growth, in order to maintain a perfect body, commonly used unhealthy means to lose weight. This research was to study the association among female Students of dance class, their body images, eating attitude, and body checking behavior. It researches the following:
1. To understand the background variables, body perception gap, eating attitude, and body checking behavior.
2. The difference in body images, eating attitude, and body checking behavior among dance class students with various background variables.
3. To understand the body images, eating attitude, and body checking behavior of the relevant circumstances.
4. To understand the body images, eating attitude, and body checking behavior of the body to predict the situation.
5. Test the body images, eating attitude, and body checking behavior of the linear relationship.
This research used sample survey of 397 students from five vocational high schools dance class located in Tainan and Kaohsiung. The tools were self - published questionnaires, including background variables, body - shaped body contours assessment table, eating attitude scale, and baby checking scale. The data was collected processed by using Descriptive statistics, single factor variance analysis, Pearson product correlation analysis, stepwise regression analysis and structural equation modeling pattern processing. The results were: high dance age, high training dancers in the body perception gap, eating attitude and physical examination behavior higher than low dance age, low training dancers. In the diet attitude to "diet" a higher incidence of body checking behavior to "specific body parts check" a higher incidence of the relationship between the three showed a linear correlation, but the attitude of the diet was only part of the intermediary. The conclusion was that physical image and body checking behaviors were affected by dietary behavior, but only part of the factors.
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Woekel, Erica Dawn. "Dancing mosaics : influences on the body images of elite adolescent female dancers." Thesis, 2005. http://hdl.handle.net/2429/16788.
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This research examines how elite adolescent female dancers visualize and scrutinize their
bodies and construct their ideal body type from the basis of the thin ideal in dance culture.
Competitive and pre-professional dancers were studied to explore the role body image, body
satisfaction and dance culture plays in their desire for thinness.
Good body image and body satisfaction in female dancers is lowered during adolescence
as their bodies change through puberty and they strive toward the thin ideal (Rhea, 1998). The
dance ideal, although similar to the cultural ideal, also emphasizes muscle length, long limbs and
few body curves whereas the cultural ideal strives for shapely curves and prominent breasts. As
dancers train in classes for performances, they are constantly surrounded by mirrors and this can
lead to a heightened desire for thinness and constant self-scrutiny (Benn and Walters, 2001).
Dancers use their bodies as a performance tool, therefore they cater their bodies to the audiences
that observe them and these practices are highly objectified, externally validated and panoptic.
This study combines three methodologies: i) Participant observation of elite dance
classes, ii) Group interviews and iii) Demographics questionnaire. These methodologies are
used to capture the actions of the dancers in class, their perceptions of their bodies in relation to
themselves, other dancers and their socio-demographic backgrounds. Previous research has
focused on eating disorders and dance: however, negative body image is a precursor to this lifethreatening
illness and better understanding body image in dancers would allow for greater
positive intervention. Although the literature on body image is large, there are few studies using
qualitative methodology to understand a dancer's point of view. These methodologies along
with the researcher's insider status allow for a more complete understanding of how young
aspiring dancers perceive their bodies.
The results of this study focus on the three main themes. The first theme looks at the
ideals these dancers have in regards to body shape, musculature, and diet as these dancers
continue to strive for perfection. The second theme examines the connections and dreams these
dancers have in regards to professional dance. The third theme looks at the two distinct cultures
these dancers are a part of and the influences both dance and consumer culture have on them.
Dancers at the elite adolescent level focus on appearance and functionality of their bodies
for the dance world while also scrutinizing their bodies and diets. Although they have a strong
subjective self-esteem, their bodies are also objectified within the dance and cultural worlds of
which they are a part. Since dance is not result oriented, it is difficult to understand the focus
dancers have for an idealized performance body. Although the dancers scrutinized and
deconstructed their bodies, their positive outlook was influenced by the standards of
contemporary dance, role models, health education classes and training regimes. The study
found that elite adolescent female dancers are continually striving for bodily perfection while
remaining focused on their physical and mental wellbeing. As they negotiate these conditions,
the complexities and idiosyncrasies of their own ideals reveal a mosaic of beliefs and influences
in regards to dance and body image.<br>Education, Faculty of<br>Kinesiology, School of<br>Graduate
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Wan-Lin, Liao, and 廖婉琳. "Life Is a Dreamlike Illusion”－An Investigation on The Interpretations of Dancing Body." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/57492288649168633891.
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碩士<br>國立臺灣體育運動大學<br>體育舞蹈學系碩士班<br>103<br>This thesis examines the graduation production “Life Is a Dreamlike Illusion” and expounds on reviewing the production process and on the interpretations of dance. The main goal is to extensively discusses the dance movement, the interpreting methods, and the participation experiences of the three dances that the author performed - “I am Liao, Wan-Lin”, “The Girls at Play “, and “Lost Paradise”. The first chapter, “Introduction”, is an account of the author’s return to dance performance after reconsideration, which resulted in the motivation and the purpose of the graduation production. The second chapter, “Performance Form and Literature Review”, is a literature review on the development of modern dance, on the process of searching proper training and body symbols, and on the performance theories of role interpretation and performance, such as those of Hsing-Chien Kao and Constantin Stanislavsky. The third chapter, “Production Process and Content”, is a narrative on the process of the production and a brief introduction on the content of the dances. The fourth chapter, “The Analyses and Interpretations of Dancing Body”, examines the rehearsal process, the challenges encountered, and the author’s reflections on her dancing body. The final chapter, "Conclusion", is a summary of the improvements and the changes that the author has gained from this production “Life Is Only an Illusion” in the hope of sharing her experience with dancers who are on the same journey.
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Lee, E.-Lin, and 李依齡. "The Study of Body Image, Sociocultural Factors, and Eating Disorder among Dancing Department Students." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/91454418608107357154.
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碩士<br>國立體育學院<br>教練研究所<br>93<br>The Study of Body Image, Sociocultural Factors, and Eating Disorder among Dancing Department Students
ABSTRACT
The purpose of this study was to investigate: (1) The differences on body image, sociocultural factors, and eating disorder among dancing department students with different demographic variables. (2) The relationship among body image, sociocultural factors, and eating disorder. (3) The predictive utility of body image and sociocultural factors on eating disorder. Four hundred and fifty six of dancing department students from seven colleges were recruited to participate in this study. Participants were asked to complete Multi-dimensional Body-Self Relation Questionnaire (MBSRQ), and Eating Attitudes Test-26(EAT-26). The results were as follows:
1. The results of one-way ANOVA and T-test indicated that: (1) Females got higher scores on weight concern, perceived weight classification, sociocultural factor influences(peers, media, and significant others), and eating disorders.(2) There were differences on body image among four training period groups. Dancers whose training period was over 10 years got higher scores on perceived weight classification than those training period was less than 10 years.(3) There was no difference on body image and eating disorders among four different majors. However, there were differences on peer influences and significant others of socioculture factors. Dancers who majored in modern dance got higher scores on peer and significant others influences than those who majored in ballet and folk dance.(4) There were differences on body image, peer influences and eating disorders among four body type groups. Dancers who were out of standard weight got higher scores on weight concern, peer and media influences than those who were under the standard weight. However, dancers who were under the standard weight got higher scores on oral control than those who were out of the standard weight. (5) Dancers who lost weight in nearly month got higher scores on appearance evaluation, body part satisfaction, peer influence, media influence, diet and oral control than those who didn’t lose weight in nearly month.
2. The results of Pearson correlation indicated that body image and sociocultural factors negatively correlated with eating disorder behaviors.
3. The results of multiple regression analysis indicated that eating disorders was positively predicted by weight concern.
Based on the findings of this study, suggestions for actual education settings and future directions were provided.
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Chiu, Yu-Wen, and 邱鈺雯. "《Embrace》– Discovery the History of Dancing Body through Professional Dance Education System in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/47104114246187434030.
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碩士<br>國立臺北藝術大學<br>舞蹈表演創作研究所碩士班<br>98<br>【Abstract】
Taiwan Dance Education has started since 1981 and developed in past three decades. There are more and more dance schools from primary school, high school, University and graduate school. This kind of “stage by stage” system, which provides dance students a completed study pipeline, made me become a so-called “professional dancer”. However, “dance education” is not only involved in the physical technique training but also contain the humanities and artistry, in order to build up the dancing body filled with artistic potential.
Embrace, which is the graduate concert work produced by me and Lu Hsin-Lin on January in 2008, ended more than two years so far. During this period, I try to recall all past memory including all improvement, pain, joy and struggle which happened in that production. All discovery and change of thinking method of my body give me enough space to improve. Now, again, I am trying to re-organize my experience through my writing to express. Through this thesis, I try to embrace dance and my dancing again.
The main purpose of this thesis is to describe and analyze the production. I will discuss my experience in following three chapters. In Chapter one, I discuss my experience of self-learning under professional dance education system in Taiwan. From my point of view, chapter two is talking about the content of 3 pieces of Embrace production with my performer experience and how do I adapt my dance training background to interpret these works. Chapter three is the conclusion, which is about my growing-up in these two years in the professional dance company. I hope these experience and introspection would be practiced in my teaching method and share those thought to everyone. I hope I could insist to devote myself for the dance and give feedback for dance education in the future.
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Downing, Charlené. "A model for the facilitation of mental health through belly dancing as movement." Thesis, 2012. http://hdl.handle.net/10210/8204.
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D.Cur.<br>Movement is an integral aspect of daily living. Movement allows the human being to express, find meaning and reflect a part or the whole of the unfolding of the stories of their lives. In nursing movement is the dialogue and interaction between professional nurse and patient. The essence of the dialogue is the movement towards caring and healing between the professional nurse and the individual. The purpose of this research is to develop, describe, evaluate and provide guidelines for the operationalisation of a model as a framework of reference for nursing to facilitate the individual faced with mental health challenges as an integral part of wholeness. The research objectives are: •To elicit the experience of belly dancers within the belly dancing environment. •To elicit the experience of belly dance teachers within the belly dancing environment. •To describe a model to facilitate mental health as an integral part of wholeness of the individuals faced with mental health challenges. •To evaluate the model to promote the facilitation of mental health as integral part of wholeness of the individuals faced with mental health challenges. •To describe the guidelines for operationalising the model for facilitation of mental health as an integral part of wholeness. A research design consisted of theory-generative, qualitative, exploratory, descriptive and contextual in nature. The purposive sample consisted of eight individuals participating in belly dancing.
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Chien, Hua-Bao, and 簡華葆. "Self awareness and practice ( or embodiment) of dancing body through the production of《Double Happiness》." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/mrhxpb.
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Vincent, Jordan Beth. "In pursuit of a dancing ‘body’: modernity, physicality and identity in Australia, 1919 to 1939." 2009. http://repository.unimelb.edu.au/10187/4887.
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The primary focus of this work is the Interwar years (1919-1939), a time when dance came to the forefront of Australian consciousness, not only as an expression of worldwide modernity, but in terms of a new kind of local professionalism. Using dance as window through which to analyse Australian culture, this thesis explores notions of the dancing ‘body’ in Australia. For this research, the term dancing ‘body’ is used to indicate a kind of artistic identity that incorporates various elements of the mind, the physical being, the conscious and unconscious idea of ‘self,’ and the external perceptions and stereotypes about dancers. Importantly, perceptions and understandings about the dancing ‘body’ were not static during the Interwar period. They changed physically, emotionally, environmentally, socially, politically, and dynamically, depending on the genre of dance being analysed. This thesis identifies four main types of dance that became popular in Australia during the Interwar period—ballroom, physical culture, modern dance and classical ballet —recognising that each type presented a slightly different dancing ‘body’ to the world and was perceived accordingly. These types were differentiated by their dynamic, environment, relationships between dancers, level of professionalism, accompanying music, and societal or political purpose, yet all share an emphasis on the corporeal form, an element of performance or spectacle, and an association with femininity.<br>Additionally, and most importantly, each of these four dancing ‘bodies’ was primarily associated with one or more cultures other than Australian, including American, Russian, English, and German. As a result, the dancing ‘body’ in Australia remained a foreign concept, connected to a variety of overseas cultures and ‘performing’ those associations through movement. While it is true that individual Australians danced, choreographed, taught and lobbied for their art-form, the sense remained in Australia that dancing was not an inherent national activity and thus, simply could not resonate with traditional notions of national identity. It leads us to ask this very complicated question: considering the varied cultural associations of the dancing ‘body,’ was there such a thing as an Australian dancing ‘body’? Did dance ever fully articulate an Australian national experience, aesthetic or ethos?<br>This research shows that local insecurities about the abilities of Australian dancers and dance-makers was closely related to dancing being an imported activity, introduced through films, magazines, recorded music, and in the bodies of foreign dancers. Moreover, it was often those foreign associations of dance, associations believed to be strong enough to ‘infect’ an Australian dancer, that caused concern over the power of the dancing ‘body.’ The tensions between the four dancing ‘bodies’ of the Interwar period, and the almost mythological stereotype of the national Australian ‘body’ are explored in this research, differentiating it from other contemporary works on the history of dance. Rather than focusing only on professional tours, this research seeks to understand the dancing ‘body’ in relation to Australian notions of physicality, identity and modernity.<br>Using dance as a ‘window’ through which to explore aspects of Australian culture during the Interwar period, this thesis argues that societal perceptions about dance and dancers were fundamentally related to the differences between behavioural expectations of Australian men and women, and dance’s inherent association with foreign cultures. This research looks closely at these cultural associations, and analyses various attempts by Australian dancers to legitimise their artform during an era of rapid technological, political and social change.