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Dissertations / Theses on the topic 'Ballroom dancers'
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Riding, Teri J. "Contributions of muscle fatigue to a neuromuscular neck injury in female standard ballroom dancers /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1529.pdf.
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Riding, Teri. "Contributions of Muscle Fatigue to a Neuromuscular Neck Injury in Female Standard Ballroom Dancers." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/755.
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Objective: To investigate the potential etiology of a loss of neck control injury in female standard ballroom dancers. The median frequency (MF) as measured by electromyography (EMG) of the left upper trapezius (UT), left splenius capitius (SPL), and right sternocleidomastoid (SCM) of injured dancers was compared to non-injured dancers. This comparison was performed to identify whether dancers with a history of loss of neck control have a greater amount of fatigue than those with no history of this particular injury. Design and Setting: A 2 x 6 factorial design was used for this investigation. The independent variables were group (injured vs. non-injured) and time (before and after the three rounds of dancing). The dependent variables were MF as measured by EMG, range of motion, and neck length. All testing was performed at the university biomechanics laboratory and ballroom dance studio. Subjects: Twenty female subjects (10 injured group {mean height 167.40 ± 4.12 cm and weight 59.30 ± 5.41 kg}, 10 non-injured group {mean height 166.76 ± 4.62 cm and weight 58.93 ± 5.30 kg}), with at least one year experience in competitive ballroom dancing, in the standard division participated in this study. All subjects competed at a Dancesport competition either in the novice, pre-championship, and/or amateur standard classifications. Inclusion criteria for the injured group included female ballroom dancers who had a loss of neck control episode. Measurements: Surface EMG activity was recorded from the left UT, left SPL, and right SCM muscles before and after dancing the five standard dances. Results: The decrease in EMG MF was not significant between groups. There was no difference in neck lengths from the external occipital protuberance to inferior angle of the scapula between groups. There were also no significant differences in range of motion of left and right lateral flexion and extension in either group from pre to post dancing. Conclusions: Based on the results of this study, subjects with a history of neuromuscular neck injury did not appear to have acute fatigue of the three muscles studied here following the routine used in this study.
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Voropaj, Katerina. "Mėgėjų pramoginio šokio dalyvaujant televizijos šokių projektuose ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130808_120006-13638.
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Pastaruoju metu Lietuvą užvaldė realybės šou žanras. Dabar televizjos ir interneto dėka mes galime stebėti begalę realybės šou projektų, kurie atvaizduoja realų gyvenimą, kurių dėka Lietuva atranda naujų talentų arba vieniši žmonės susiranda savo meilę. Informacinės technologijos paskatino ir pramoginių šokių išpopuliarėjimą. Populiarūs televizijos šokių projektai paskatino žmones lankyti pramoginius šokius bei prisidėjo prie daugybės naujų šokių studijų atsiradimo. Mėgėjų šokėjų ir suaugusiųjų šokių mokymosi ypatumai pakankamai plačiai išanalizuoti mokslinėje literatūroje, tačiau iki šiol neaišku, ar mokymasis šokti dalyvaujant televizijos šokių projekte skiriasi nuo tradicinio mokymosi šokių studijose. Tyrimo objektu pasirinktas mėgėjų pramoginio šokio mokymas televizijos projekte metu. Tyrimo tikslas –išanalizuoti mėgėjų pramoginio šokio mokymo, dalyvaujant televizijos šokių projekte, ypatumus.
Atlikus temai aktualios literatūros analizę, išsiaiškinta, kad televizija daro didelę įtaką asmenybei, ji pateikia gyvenimo būdo modelius, elgesio normas, vertybių sistemą. Žiūrėdami televiziją, žmonės įgyja galimybę išmokti daugelį naujų dalykų, pvz., šokti. Suaugusiųjų mokymas šokti turi savo ypatumų – mokytojas privalo atsižvelgti į jų fizines, psichologines, socialines charakteristikas. Siekiant atskleisti mėgėjų šokėjų, dalyvaujančių televizijos projekte, mokymo ypatumus, buvo atlikta šokių projektų dalyvių – mėgėjų šokėjų ir choreografų mokytojų apklausa. Tyrime dalyvavo 9... [toliau žr. visą tekstą]In recent years Lithuanian television has been taken over by the reality TV show genre. Due to television and Internet we have the opportunity to watch many reality shows, representing real life and enabling us to discover new talents or help people to find new love. Advancemenet in IT technologies enabled the popularisation of ballroom dance. Popular dance TV shows stimualted public interest in ballroom dance, which lead to the opening many more new dance studios. The aspects of social dancers‘ and adults‘ teaching are well described in academic literature. But it is still unlear wether training for the reality TV project is different from training in dance studio. The object of the study is training of social dancers engaged in the reality dance TV project. The study is aimed at analyzing the aspects of social dancers participating in reality TV projects. The analysis of literature revealed teh great influence of television on personality. Television provides lifestyle, behavior norms, social values. Reality TV projects provide the opportunity for people to learn lots of new things (e. g. dance). Adult dance training is influenced by participants‘ physical, psychological and socials characteristics. In order to discover the features of training social dancers‘ participating in TV dance projects, the survey was conducted. Nine social dancers (3 female, 6 male) and two choreographers (male and female) participated in the survey. The survey revealed different aimes for... [to full text]
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Pettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.
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Nielsen, Eric Douglas 1977. "Web-tools for streamlining ballroom dance competition management." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29703.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.Includes bibliographical references (p. 465).
This thesis presents the design and development of the initial offerings in a potential suite of computer aids for ballroom dance competitions. The suite of tools is known by the name CompinaBox; while the initial module which handles on-line registration for competitions is named SlidingDoors. The tools have been developed using the PHP programming language a scripting language that is easily embeddable within the HTML used to create web-pages. The PostGreSQL database system is used to handle all data storage requirements. The registration component was selected as the initial tool because it provides the data needed by practically all of the other possible tools. SlidingDoors has been coded from scratch twice, under two radically different coding methodologies. The first was in accordance with "common" web-programming views and a completely dynamic page generation model. The second was along the more traditional software engineering model and used more static page generation. As the story of the tool development unfolds, trade-offs between the two approaches are discussed.
by Eric D. Nielsen.
M.Eng.
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De, Young Danielle Erin. "A Layered Ceiling: A Center for Ballroom Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/56657.
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This collection of drawings and paintings presents a proposal for a ballroom dance center in Montreal, Quebec, Canada. The building is unnecessarily generous with the most essential elements and exaggerates non-essential elements in a way enhances their redundancy. Layered glulam ceilings cover the two main spaces and evoke the hidden structure of the sprung dance floor below. The ceiling is reflected in the pattern of the hardwood floors, and the ballroom is reflected in the pool outside its layered facade. Layers of concrete walls create thresholds and add depth to the views between spaces. Light, material, and people follow indirect paths through the building and its detailed elements.Master of Architecture
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Boeh, Sarah Marshall. "The effectiveness of labanotation in learning ballroom dance /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901658673.
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Nurse, Gwendoline. "Competitive ballroom dancing as a social phenomenon : an anthropological approach." Thesis, University of Roehampton, 2007. https://pure.roehampton.ac.uk/portal/en/studentthesis/competitive-ballroom-dancing-as-a-social-phenomenon(3c1eadf1-9c6a-4911-b514-362e8b6ddbd1).html.
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The following investigation develops a critique of Competitive Ballroom Dancing as a social phenomenon from an anthropological perspective and that of a non-dancer. In order to do this the thesis is concerned with interrelating dance with anthropology. The concepts of how people express themselves and communicate in society provide the study with the scope to explore certain issues. The first aspect shows how a person would prepare to be a dancer in competition, this involves, among other things, learning to dance, finding a suitable partner and the overall appearance of the dancer. Secondly looking at competition, which involves sport and dance, judgement and perception of how the dancers and spectators view it. The embodied content of the competitive dancer is seen as an important issue, since it can affect how the dancers dance and how the dance is perceived, despite the fact that competitive ballroom dancing is such a highly formal, structured and rule-governed form of dance. Ritual and performance theories integrating emic and etic tendencies are juxtaposed with what appears to happen in this form of dance. In addition various types of altered state of mind are examined, in view of comments made by dancers about how they feel when dancing. Furthermore this thesis explores an understanding of how important this form of dancing is to its participants and how the activity can be a life-long pursuit whether as a dancer or subsequently as a spectator. It also illustrates the extent to which younger people enjoy an activity where there is great emphasis on being fit and how they have come to link it with sport.
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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Philosophy
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Marion, Jonathan Saul. "Dance as self, culture, and community the construction of personal and collective meaning and identity in competitive ballroom and salsa dancing /." Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3213856.
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Thesis (Ph. D.)--University of California, San Diego, 2006.Title from first page of PDF file (viewed June 27, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 853-893).
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Lamadrid-Eckert, Eliana del Carmen. "A Center for Dance and Carnivals: Temporary vs. Permanent." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/9908.
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Hanke, Ramona. "The impact of ballroom dancing on the marriage relationship." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-04132007-163833.
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Green, Alida Maria. "Dancing in borrowed shoes : a history of ballroom dancing in South Africa (1600s-1940s)." Diss., Pretoria : [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10202009-190259.
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Denney, Karson B. "Real Men Can Dance, But Not in That Costume: Latter-day Saints' Perception of Gender Roles Portrayed on Dancing with the Stars." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2615.
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This thesis attempts to better understand gender roles portrayed in the media. By using Stuart Hall's theory of audience reception (Hall, 1980) the researcher looks into dance and gender in the media to indicate whether or not LDS participants believe stereotypical gender roles are portrayed on Dancing with the Stars." Through four focus groups containing a total of 30 participants, the researcher analyzed costuming, choreography, and judges' comments through the viewer's eyes. From participant responses, the conclusion was made that audience members do perceive stereotypical gender roles on "Dancing with the Stars." Participants felt that costuming was the biggest indicator of gender roles on the show, and that choreography and judges' comments also contributed to the perception of gender roles.
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Stenquist, Nathalie. "Normkritisk analys av pardans." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33615.
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I denna uppsats undersöks erfarenheterna och attityderna som sex pardansare har kring heteronormativitet inom dansen. Deras tankar kring olika roller och betydelser kring danserna fångas upp i intervjuer och tolkas och analyseras sedan via queerteorin och det dramaturgiska perspektivet som utgångspunkten i analysen av sociala situationer. Resultaten visar att heteronormativiteten lever inom sporten pardans via traditioner från förr och de regleringar som finns idag men också genom de attityder som ungdomarna besitter och uttrycker. Dansarna själva uttryckte sig om att förändring inom dansen kan rubba dansen värdegrunder och göra sporten till något helt annat än vad den alltid har varit.Pardansen har inte ofta varit objekt för forskning vilket medfört att jag förlitar mig på mina intervjuer och väljer att göra en icke generaliserbar uppsats då det är erfarenheter, individuella tankar och tolkningar står som grund för min analys. Jag har även plockat alla dansare från samma klubb vilket har genererat till att de har haft liknande svar till den del frågor vilket kan tänkas leda till deras tränare som jag därefter har intervjuat med andra frågor.Min slutsats är den att pardansen i sig ses som en feminin sport men utövar heteronormativa värden som präglar dansarna då det enligt utövarna är otänkbart att hålla kvar vid dansens värdegrunder och samtidigt dansa samkönat på elitnivå. Pardansenarna i denna skåneförening har en heteronormativ syn på dansen och dess betydelse som idrott och kulturbevarande aktivitet.This thesis explore the experiences of heteronormativity of six ballroom dancers. Their own thoughts on different roles and meaning behind the dances have been captured in interviews. Later translated and analysed through Queer theory and Erving Goffmans dramaturgical perspective theory where he enlightens us about his perspective on social situations as performances based upon the conviction of persuasion. Discovering that heteronormativity lives within the sport as traditions from past times and upheld by rules and guidelines, and attitudes expressed by the dancers. The dancers themselves agree on changing the rules of the sport is making the meaning of ballroom dancing less accurate matching the history of the sport which seems to be the pillar of ballroom dancing. Heteronormativity is the main subject of this thesis.
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Henderson, Lisa A. "The Story of Love." University of Akron / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=akron1144759270.
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Gomes, Diogo Miguel Batista. "Efeitos de um programa de danças de salão em pessoas idosas: uma revisão sistemática." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/23202.
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Com o decréscimo tanto na taxa de natalidade, bem como na taxa de mortalidade e com o aumento, consequente da evolução da ciência, da esperança média de vida assistimos a um envelhecimento da população mundial. Devido a este aumento surgiu uma necessidade de proporcionar um envelhecimento saudável e ativo à população através de programas de atividade física, como por exemplo as Danças de Salão.
Objetivo geral deste estudo foi conhecer os efeitos das Danças de Salão em idosos. Como objetivos específicos foram conhecer os programas de Danças de Salão utilizados em idosos, averiguar quais as variáveis dependentes investigadas através dos mesmos e avaliar a força científica dos efeitos obtidos em todos os programas em conjunto, tal como individualmente.
A pesquisa foi realizada no dia 29 de Setembro de 2015 nas diferentes bases de dados científicas, utilizando uma seleção de palavras-chaves: Dance, Danças de Salão, Elderly, Older adults, Age, Ballroom, Dança, Idoso e Sénior. Os resultados da pesquisa foram analisados por dois revisores que selecionaram os estudos, de acordo com os critérios de seleção pré-estabelecidos, inicialmente em excluídos e potencialmente incluídos e numa fase final em incluídos e excluídos da revisão. Após a seleção foi realizada a avaliação da qualidade metodológica dos artigos através da Escala de PEDro e a força das evidências através do método da melhor síntese de evidência.
Segundo a escala de PEDro, os estudos obtiveram uma pontuação média de 4.75, conferindo-lhes uma qualidade metodológica inferior. Todos os artigos incluídos apresentaram melhorias. Em 3 dos 4 artigos analisados apresentaram benefícios no equilíbrio mas também se verificou melhorias na condição física geral, de função cognitiva ou de autonomia. Contudo, a força não apresentou efeitos. Concluímos assim que de forma generalizada através de programas intervenção de Danças de Salão em idosos se obtém melhorias significativas no Equilíbrio, Condição Física e Velocidade de Marcha (com evidências científicas limitadas). Também foi verificado que programas de intervenção que utilizaram Tango Argentino e Salsa apresentaram essas mesmas melhorias, com evidências científicas limitadas. Já os programas com Cha Cha Cha e com Foxtrot, Valsa, Rumba, Swing, Samba e Bolero, embora apresentassem melhorias significativas na função cognitiva, fluência verbal, equilíbrio e na autonomia funcional não apresentavam evidências científicas; Effects of a Ballroom dance program in older adults: systematic review
ABSTRAT:
With the decrease in both the birth rate and the death rate and the increase, resulting from the evolution of science, the average life expectancy witnessed an aging world population. Because of this increase arose a need to provide a healthy and active aging to the population through physical activity programs, for example Ballroom Dancing.
The aim of this study was to understand the effects of Ballroom Dance in the elderly. Specific objectives were to know the Ballroom Dance programs used in the elderly, which determine the dependent variables investigated on the programs and evaluate the scientific strength of the effects obtained in all programs together, such as individually.
The research was conducted on September 29th of 2015 in different scientific databases, using a selection of keywords: Dance, Ballroom Dancing, Elderly, Older adults, Age, Ballroom, Dance, Senior and Senior. The results of the research were analysed by two reviewers who selected the studies, according to the pre-established selection criteria, initially in excluded and potentially included and in a final phase in included and excluded from the review. After the selection was made the evaluation of the methodological quality of the articles through the PEDro Scale and the strength of the evidence through the method of the best synthesis of evidence.
According to the PEDro scale, the studies obtained an average score of 4.75, giving them a lower methodological quality. All included articles showed improvements. In 3 of the 4 analysed articles presented benefits in the balance but also there were improvements in general physical condition, cognitive function or autonomy. However, the force had no effect.
We conclude that, in a generalized way, through intervention programs of Ballroom Dance in the elderly, significant improvements are obtained in Balance, Physical Condition and Walking Speed (with limited scientific evidence). It was also verified that intervention programs that used Tango Argentino and Salsa presented these same improvements, with limited scientific evidence. However, the programs with Cha Cha Cha and Foxtrot, Waltz, Rumba, Swing, Samba and Bolero, although they showed significant improvements in cognitive function, verbal fluency, balance and functional autonomy, presented no scientific evidence.
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Narkutė, Kamilė. "7–9 metų vaikų kūrybinės veiklos organizavimas pramoginių ir šiuolaikinių šokių studijose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_133621-72874.
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Šiame darbe nagrinėjamas 7–9 metų amžiaus vaikų kūrybinės veiklos organizavimas pramoginio ir šiuolaikinio šokio studijose. Pažymėtina, jog neformalaus švietimo srityje dirbantys pramoginio šokio mokytojai suvokdami vaikų kūrybos poreikį ir reikalingumą, neretai apsiriboja tik šokio atlikimo technikos tobulinimu, nepaiso naujų šiuolaikinių švietimo gairių, nesidomi Lietuvos Respublikos įstatymais. Šokio pamokose naudoja savo sukurtus veiklos modelius, kurie skurdina pamoką, nesuteikia galimybės vaiko kritinio mąstymo tobulėjimui. Tyrimo objektas: 7–9 metų vaikų kūrybinės veiklos organizavimas. Tyrimo tikslas – atskleisti 7–9 metų vaikų kūrybinės veiklos organizavimo pramoginio ir šiuolaikinio šokio studijose ypatumus.In this paper is about how to organize creative activities for children of age from 7 till 9 years in ballroom and contemporary dance studios. It should be noted that informal education teachers of ballroom dance understands need and necessity for children's creativity. But their teachings are often limited to dance technique improvements, ignoring modern education guidelines and laws of the Republic of Lithuania. In dance classes teachers use their own teaching models, which impoverishing the lesson and restricts from development of children critical thinking. Object of research: dance creativity activities for children aged from 7 till 9 years. Purpose of the research: to reveal the how dance creativity activities are organized during ballroom and contemporary dance studies for children aged from 7 till 9 years.
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Siqueira, Leonardo Pádua. "O tango livre: considerações de um tangueiro (dançarino e professor) ao método de Rodolfo Dinzel." Universidade Federal de Uberlândia, 2017. https://repositorio.ufu.br/handle/123456789/19726.
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De que maneira a relação entre o contexto histórico, o imaginário do tango argentino e o
método Dinzel de ensinamento é capaz de contribuir para o ensino e a aprendizagem do
tango dança? Esta foi a pergunta que norteou este trabalho de dissertação. O presente
texto apresenta informações históricas, contextualizadas socioculturalmente, e sintetiza
o método de dança do professor e Tangueiro Rodolfo Dinzel e suas aplicações práticas.
Entremeado com estes conteúdos, o autor revela suas descobertas como tangueiro e
como professor de tango no decorrer deste estudo, e juntamente com suas descobertas
traz contribuições contextuais da prática pessoal no tango. Esta dissertação se concentra
na área de Práticas e processos em artes do Programa de Pós-Graduação em Artes da
UFU e tem como objetivo oferecer aos interessados um texto funcional para o ensinoaprendizagem
do tango em âmbito extra-acadêmico. Intenta-se com isso facilitar uma
vivência significativa do processo de aprendizagem, uma vez que se propõe ser uma
ferramenta para reinventar continuamente as formas de ensinar. Nesta perspectiva o
aluno é convidado a descobrir o seu próprio bailar. E por fim, chegamos a conclusão de
que o método Dinzel pode contribuir exponencialmente para a qualidade e consciência
do bailado do tango.In which way is the relation between the historical context, the imagination of the Argentine tango and the Dinzel teaching method able to contribute for the education and learning of the tango? This was the question that guided this dissertation project. This text presents historical socioculturally contextualized data; it summarizes the teacher and Tanguero Rodolfo Dinzel’s dance method and its practical applications. Interspersed with these contents, the author reveals his findings as a Tanguero and tango teacher throughout this study; and along with his findings, he makes contextual contributions considering his personal tango practice. The goal of this dissertation, which is focused on the area of artistic practices and processes of the Postgraduate Program in Arts of UFU, is to offer a functional text for the education and learning process of the tango, in an environment that can go beyond the university walls. Proposed as a tool to continuously reinvent the way of teaching tango, this dissertation aims to facilitate the creation of a meaningful experience of the learning process. In this perspective, students are invited to discover their own way of dancing. As a conclusion, one can say that the Dinzel method is able to contribute exponentially to the quality and awareness in the tango dance.
Dissertação (Mestrado)
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Рубанка, М. М., Т. В. Луцкер, Н. В. Остапенко, and А. І. Рубанка. "Особливості проектування суконь для бально-спортивних танців." Thesis, Київський національний університет технологій та дизайну, 2018. https://er.knutd.edu.ua/handle/123456789/10589.
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Проаналізовано умови експлуатації одягу для бально-спортивних танців, обґрунтовано вибір матеріалів для їх виготовлення. Досліджено особливості дизайн-проектування суконь для дівчаток, зокрема їх конструктивно-технологічного рішення. Встановлено, що до обраного асортименту висувається ряд спеціалізованих вимог. На основі аналітичних досліджень розроблено асортиментний ряд суконь для занять бально-спортивними танцями для дівчаток молодшого шкільного віку.The conditions of use of the clothes for ballroom & sport dances are analyzed; the choice of the materials for their manufacture is grounded. Special aspects of design-projecting of the dresses for girls, in particular their design and technological aspects, are studied. It is found that a number of specialized requirements are put forward to the selected assortment. On the basis of analytical studies, the assortment range of dresses for ballroom & sport dances for girls of junior school age has been developed.
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Rodrigues, Vanúzia Almeida. "Música popular e dança de salão: o maxixe nos jornais norte-americanos do início do século XX." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-27032018-171249/.
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Este trabalho trata da circulação de notícias do maxixe brasileiro nos jornais estadunidenses no começo do século XX. Os periódicos colhidos no repositório Newspaperarchive foram sistematizados nos moldes de um corpus documental. Este foi o principal objetivo do trabalho ora apresentado: produzir um instrumento de pesquisa através da construção de uma coletânea com todas as matérias a respeito do maxixe brasileiro, publicadas nos jornais dos Estados Unidos, na forma de anúncios, artigos, contos, notas, notícias e poemas, entre 1906 momento em que encontramos a primeira notícia focalizando o tema , e o final dos anos 1930, quando já vinha se desenvolvendo no Brasil uma música tipicamente nacional e os produtos da cultura brasileira já tinham circulado pelo mundo, especialmente Europa e Estados Unidos. No período estudado, música popular é música de divertimento, feita para dançar. Dançar nos salões do Brasil, nos dancings de Paris, nos ballrooms americanos, mais do que moda, era uma forma de participar da sociedade, de se inteirar das novidades, dos passos mais conhecidos, afinal a música popular e a dança coreográfica são expressões artísticas que transitam entre as diferentes classes sociais. O maxixe nasceu miscigenado, reflete a misturada de ritmos e gêneros, presentes no Brasil desde o século XVIII, como o batuque, o lundu (ambos de matriz africana). Mas, recebeu também forte influência de gêneros europeus como a modinha, e mais tarde da polca (século XIX) e do choro uma invenção brasileira. Como toda dança, causou escândalo quando surgiu, em virtude dos movimentos considerados ousados, extravagantes e lascivos. Pouco a pouco, os passos exibidos nos cabarés do Rio de Janeiro transformaram-se, adequando-se aos ambientes dignos da sociedade brasileira, e é assim que passam a ocupar os salões frequentados pelas classes mais abastadas. No eixo internacional, Paris foi a bússola que orientou e pautou os códigos de comportamento no mundo inteiro, principalmente durante a Belle Époque. As viagens de músicos, agentes, mecenas etc. e de objetos sonoros através do Atlântico são vistas pela perspectiva da transculturação. O contato entre grupos de culturas diferentes contribui para que os artistas e sua arte se transformem e isso ocorre independente do processo de dominação econômica, uma vez que todos passam por mudanças (dominados e dominantes). Por outro lado, o conceito de triangulação é apropriado para compreender o modo como circulam os objetos sonoros e dançantes, e proporciona o mapeamento dos lugares por onde transitaram tais objetos, colaborando para a percepção dos aspectos que estão em jogo na circulação deles. Nos Estados Unidos, as escolas, as universidades e a técnica, de um lado; e a família e os professores de dança, de outro, foram centrais ao processo de branqueamento que permitiu a aceitação do maxixe. Por outro lado, o teatro de caráter trovadoresco - onde se inclui o vaudeville e, mais tarde, os musicais no teatro e no cinema, colaboraram para que a música e a dança maxixe continuassem presentes naquele país, avançando além dos anos 1930. A difusão do maxixe obedeceu à lógica da indústria cultural, articulando-se aos mecanismos de reprodutibilidade próprios do mercado.This paper explores the circulation of Brazilian maxixe news in American newspapers at the beginning of the 20th century. The journals collected in the Newspaperarchive repository were systematized in the form of a documentary corpus. This was the main objective of the work presented here: to produce a research instrument through the construction of a collection of all the Brazilian maxixe materials, published in the United States newspapers, in the form of advertisements, articles, short stories, notes, news and poems, between 1906 - when we found the first news focusing on the theme - and the late 1930s, when Brazilian music was already developing in Brazil, and the products of Brazilian culture had already circulated throughout the world, especially in Europe and the United States. In the period studied, popular music is fun music, made for dancing. Dancing in the halls of Brazil, in the dancings of Paris, in the American ballrooms, more than fashion, was a way to participate in society, to find out about the news, the best known steps, after all, popular music and choreographic dance are artistic expressions which pass through the different social classes. Maxixe was born miscegenated, reflects the \"mixed\" rhythms and genres, present in Brazil since before the 18th century, such as the batuque, the lundu (both African matrix). But it was also strongly influenced by European genres such as modinha, and later by the polka (19th century) and choro - a Brazilian invention. Like all dance, it caused scandal when it arose, by virtue of the movements considered daring, extravagant and lascivious. Little by little, the steps displayed in the cabarets of Rio de Janeiro were transformed, adapting themselves to the \"dignified\" places of Brazilian society, and that is how they began to occupy the ballrooms frequented by the wealthiest classes. On the international axis, Paris was the compass that guided and led the codes of behavior throughout the world, especially during the Belle Époque. The trips of musicians, agents, patrons, etc. and sound objects across the Atlantic are seen from the perspective of transculturation. The contact between groups of different cultures contributes to the transformation of artists and their art, and this occurs independently of the process of economic domination, since all undergo changes (dominated and dominant). On the other hand, the concept of triangulation is appropriate to understand the way the sound and dance objects circulate, and it provides a mapping of the places through which these objects transited, collaborating to the perception of the aspects that are at play in their circulation. In the United States, schools, universities and technique, on the one hand; And family and dance teachers on the other, were central to the bleaching process that allowed the acceptance of the maxixe. On the other hand, theater like a vaudeville and, later, musicals in the theater and in the cinema, collaborated so that the music and the maxixe dance continued present in that country, advancing beyond the 1930s. Diffusion of the maxixe obeyed the logic of the cultural industry, articulating itself to the mechanisms of reproducibility proper to the market.
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Hazuková, Jarmila. "Taneční klub ve Frenštátě pod Radhoštěm." Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2015. http://www.nusl.cz/ntk/nusl-227790.
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The subject of this project documentation for building is new building of Ballroom dance club in Frenštát pod Radhoštěm conected with current building of cinema. Object is situated in Frenštát pod Radhoštěm in region of Nový Jičín. The target of this diploma thesis was design of public building for cultural enjoying with using current spaces in the locality to fulfill requirements of investor. The thesis is devided into parts of preparing, situating, documentation to be involved into the surrounding.
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Chang, Chia-yu, and 張家瑜. "The Spiritual Development of Ballroom Modern Dancers." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/07530418218375532417.
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碩士國立臺北教育大學
生命教育與健康促進研究所
101
The purpose of this study, conducted by qualitative methods of narrative interview, is to investigate the spiritual development experience of the ballroom modern dancers. Sampling 4 participants who been ballroom modern dancers for over 25 years. Through deep interview combines with half-constructural methods to collect related data and adapt whole-content analysis to present participants’ life story, motivation of learning ballroom dance, and reasons of continual learning.With the use of category-content analysis to specify participants’ experience web of growing up and growth factors. The conclusion is drawn as below： The motivations for participants to learn ballroom dance include, the influence of their families and backgrounds, interests on sports, making a living, belief of their given talents, invitations from friends, relationships expansion, curiousity to ballroom dance, showing the presence of oneself, and seeking sustenance of life etc. The reasons of continual learning include, incentive of competition result, stability of body after exercise, exploring relevant knowledge, possibility of challenging oneself, aesthetic attraction, seredipity of wonderful feelings, feeling of release, influence of dance partners, support from ballroom dance teachers, seeking life attribution, and perception finite of time etc. The spirit growth of ballroom dancers including 10 aspects： 1. Growing aspect－Dancers’ cognitive level, aesthetic experience, and physical and mental growth have been enhanced. This development achieves Seaward’s proposed of spiritual development stage in 2002. 2. Awareness aspect－By relaxing body and mind, dancers are aware of the relations between themselve and their partners. With the control of the transient moment to reveal the astute resilience. 3. Individual aspect －Dancers view dance as the unique, profound and dynamic source of life energy. and influnce by the living conditions, personality traits and crucial events. 4. Meaningful aspect －Dancers construct self-worth and belonging from achieving life beliefs, and endue with responsibility of mission, perceiving the ultimate meaning of life. 5. Introspection aspect－Living with positive vitality, dancers accept the health deterioration and honor declines, perceiving the impermanence of life. 6. Healing aspect －Spirituality leads dancers to search lost soul in predicament, confront the challenge again, and position the meaning of life. 7. Creation aspect－Dancers face the challenge with passion, overcome the fetter, create the work of great originality, and break through the barriers among body, mind, music, and life, fusing with each other. 8. Trancedence aspect－Dancers own passionate and deeply warm relationship with others, futher yearning for the eternal divine kingdom. 9. Connection aspect－Dancers connect with self, others, nature or the environment, universe or even supreme force through the intermediary of music, breath, kinesthesis and emotion. 10. Wholeness aspect－Dancers experience the deep emotions, integrate the division and opposition, past and now, human and nature, and obtain the unity of the body, mind and spirit in the dancing moment. 11. Besides, this research indicates that a couple of dancers could influence and lead with each other to enjoy the holistic soul, that is called “in unison”. Also, holistic soul is easily occurs when the energy consumption of the body is at the lowest stage, dancers using advanced skills, that is called “complementary” Last, according to the conclusion, this reasearch targets at international ballroom modern dancers and propound the proposal for research of potential international ballroom dance and holistic soul.
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Lin, Chu-Chung, and 林主忠. "A study on physical fitness of ballroom dancers." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/41344705147196989118.
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碩士國立臺灣體育學院
體育研究所
90
Lin, Chu-Chung (2002). A study on physical fitness of ballroom dancers. Unpublished master’s thesis, National Taiwan College of Physical Education, Taichung. ABSTRACT The main purpose of this study was to compare the differences of body composition, reaction time, agility, balance, coordination, muscular strength, muscular endurance, power, flexibility and cardiorespiratory endurance among professional standard dancers, professional Latin-American dancers and amateur dancers. Subjects were chosen at random as follows : Ten professional standard dancers as Professional standard dance group, ten professional Latin-American dancers as Professional Latin-American dance group and twenty amateur dancers as amateur dance group. The total forty dancers received body composition measurement (body composition), whole body reaction measurement (reaction time), side step test (agility), open eye single foot stand test (balance), rhythmic test fast for right hand (coordination), back strength and grip strength dynamometer tests (muscular strength), 1-minute flexed leg sit-up test (muscular endurance), vertical jump (power), modified sit — and — reach test (flexibility) and Harvard step test (cardio-respiratory endurance). Analysis of Variance (ANOVA) was used to test all values of the tests. The results state that there are no significant differences of body composition, reaction time, agility, balance, coordination, muscular strength, power, flexibility and cardiorespiratory endurance among three groups except the mean age of the professional Latin-American dancers which is lower than the other two groups and the mean height of the professional dancers is taller than that of the amateur dancers, even the differences reach significant. Regarding muscular endurance, professional Latin-American male dancers are much better than the other two groups, the difference reaches significant, but the result of the mixed analysis of male and female dancers states there is no significant difference among three groups. Key words : ballroom dance, physical fitness
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Hung, Hsiao-Ling, and 洪曉玲. "A Study of Arch Support to Improve Balance and Foot Strain of the Ballroom Dancers with Flat Foot." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/31181373950513959047.
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碩士大同大學
工業設計學系(所)
96
In recent years, ballroom dancing has emerged from a social activity to become a dance competition and a daily physical sport participated in by many with increasing popularity. However, just like any other regular sport, incidents such as foot discomfort and injuries are not uncommon among ballroom dancers. In this research, a field investigation comprised of a survey and foot image scanning for subjects was conducted. Out of the 29 subjects who completed the survey, 22 took part in a footprint scanning process. From the results of the investigation, we were able to identify the causes that lead to foot discomfort and poor balance for dancers: (1) wearing dance shoes or shoes with heels; (2) flat foot arches; (3) specific dance routines such as the quick tempo Latin or the lively Cha-cha-cha. Findings of the investigation showed that a substantial number of ballroom dancers wearing dance shoes or shoes with heels suffer from foot discomfort, fatigue and poor balance. In addition, most of the subjects (who practice ballroom dancing) in fact have flat foot arches (62.1%). Subjects with flat feet (regardless of severity of the condition) have responded that they have experienced noticeable foot discomfort and fatigue while practicing ballroom dancing. Based on the content of literatures referred for the purpose of this research, the results of the field investigation and the data from subjects’ foot image scanning, two types of arch support were designed and developed using EVA materials with a hardness of 30 specially designed for ballroom dancers with varying degree of flat feet. 20 subjects were screened and selected from the field investigation to participate in the post-test experiment. 9 subjects were placed in the experimental group and asked to wear identical dance shoes for a week while dancing. These subjects were then asked to complete a questionnaire. At the same time, subjects were given the experimental arch support we have developed in this research according to the severity of their flat feet. They were asked to complete another questionnaire after two weeks of usage. The 11 subjects in the compare group were asked to wear their own shoes (which they were used to wearing) while dancing during the period of the experiment before completing the two-stage questionnaire on their experience of foot discomfort. Results from the analyses of these questionnaires indicated that the arch support developed for the research alleviated painful sensations for flat feet dancers by 39.63%, improved their balance by 46.30% and reduced foot fatigue by 39.37%. However, subjects have also brought up the point that it took a significant period of time before they become accustomed to using the arch support due to comfort factors. In other words, manufacturers of dance shoes or assisting devices could improve upon their products in the areas of material application, surface area and thickness design.
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Martin, Christopher Tremewan Perpener John O. "The Castles and Europe race relations in ragtime /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-174109.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. John O. Perpener III, Florida State University, School of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed June 8, 2005). Document formatted into pages; contains vi, 87 pages. Includes bibliographical references.
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Atkins, Jennifer Young Tricia Henry. "Working women and dance in progressive era New York City, 1890-1920." 2003. http://etd.lib.fsu.edu/theses/available/etd-09172003-163141.
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Thesis (M.A.)--Florida State University, 2003.Advisor: Dr. Tricia Young, Florida State University, College of Visual Arts and Dance, Dept. of Dance. Title and description from dissertation home page (viewed Feb. 26, 2003). Includes bibliographical references.
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WANG, PUNG-HAO, and 王鵬豪. "Dynamic dual relationship between intimate & professional - Take ballroom dance for example." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/pey9c4.
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碩士玄奘大學
大眾傳播研究所
106
ABSTRACT This paper is an explore for the working of dual relationship between partner of ballroom dance. The interaction between human will result in difference way depend on the friendship. Generally divided into two kind, the first is personal way, and the second is impersonal way. People generally prefer to exclude the operation of personal emotions in professional field, to keep situation in business and impersonal, but when there are acquaintances or someone in intimate relationship with, the action pattern will tend to be personal. The structure of ballroom dance include time, space and place, physical contact, role, and technical. The interpersonal interactions will rely on the habitus of field of ballroom dance. But the relationship between dance partners will change by the time. Thus, when the relationship turn to intimate the habitus will probably change to fit their own relationship. In this study, in order to record the relationship between dance partners and the changes in interaction methods, a qualitatively oriented research method was adopted. And take observation method to observe the dancer's behavior in the field and to get the dancer's experience and their own experience for mutual reference with observation method. The study found that the operation mode of the ballroom is based on the status of the role, but when the partners involve intimate relationships, the role of the dancers will change, and the mode of operation will turn the impersonal way to personal. The personal operation allow the habitus change and becomes the new operation between the partners.
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Daniel, Yvonne LaVerne Payne. "Ethnography of rumba dance and social change in contemporary Cuba /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/22546588.html.
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Перетятько, Руслана Олександрівна, and Ruslana Oleksandrivna Peretiatko. "Бальний танець: історичні віхи та сучасний стан розвитку." Master's thesis, 2020. http://repository.sspu.edu.ua/handle/123456789/9801.
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У роботі висвітлено становлення та розвиток бального танцю. Розглянуто бальний танець як досліджуваний феномен; з’ясовано особливості становлення та розвитку бального танцю; схарактеризовано складові програм бального танцю (європейська та латиноамериканська); окреслено інтеграційну складову бального танцю у вітчизняній практиці.Becoming and development of ballroom dance is in-process reflected. Ballroom dance as investigated phenomenon is considered. The features of becoming and development of ballroom dance are found out. Схарактеризовано constituents of the programs of ballroom dance. The integration constituent of ballroom dance is outlined in home practice.
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Chen, Chun-Yin, and 陳春吟. "A Study on Psychological and Physical Changes Before and After Ballroom Dance Learning." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/wv8rd3.
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碩士遠東科技大學
創新設計與創業管理研究所
107
The thesis is about whether the physical and psychological condition are meaningful to the combination of dance. It is necessary for one to have a healthy body and self-understanding in order to gradually learn the essence of internal control, autonomy, self-challenge and pursuit of perfection. Additionally, it can be beneficial to the development of oneself, family, work, interpersonal relations and dedications to the society. This study believes that in the process of international standard dance learning, people have different feelings and experiences in the physical and psychological aspects due to the differentiation of learning levels. The study was conducted on a case-by-case basis and was divided into two groups of the dance coaches with abundant experience and students who are in learning process(more than one year experience). During each stage of learning process, there is a significant difference in physical and psychological condition. For example, when the body enters the mode of international standard dance, it realizes that there are many moves which can’t be done in the learning process. Most learners will feel incredible when they are able to reach their limit through trainings. The influence of dance to people’s mind is invisible. There is a subtle influence to human heart, and the whole heart can be transformed into wisdom. Therefore, in the process, the learners will realize how to face and submit themselves in order to reach the state they want to. The value of longing and dance-sport combining together is unpredictable, and it gives people the motivation to learn. The interviewed coaches and learners are also aware of that the body shows the individual's uniqueness and difference through international standard dance. Moreover, during the learning process, they discover the twists of the emotions and the overcome of their physical capabilities. As a result, the correlation of the physical and psychological aspects surely influences the learners’ experiences through different learning stages.
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Shing-Chin, Jung, and 鍾幸芩. "The Development and Implementation of Warm Up in Ballroom Dance Cha Cha Cha for Adults." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/mv3w54.
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碩士國立臺北藝術大學
舞蹈研究所理論組
101
Ballroom dance has been developed over sixty years in Taiwan since 1990s, it became a popularized dance form to all ages. The dance, was named social dance, has now been changed to ─International ballroom dance.∥ From the researcher’s experience, the dance class for International ballroom dance in Taiwan seldom began in a well warm up. Therefore it inspired the researcher to explore the proper warm up before ballroom dance class. The aim of the research is to develop warm up for ballroom dance cha cha cha in adult class at beginner level. The researcher hopes to reduce dance injury and increase the effect of better teaching by the implementation of the research. The warm up activity was based on the characteristics of the dance, the basic technique in cha cha cha, as well as the principle of conducting warm up. Action research method was applied in nine-week practical teaching. The target was a group of ten students of Happy Outreach Center for Arts and Educational (a pseudo name) in Taipei City. The researcher analyzed the datas collected from the video recordings of the class, the teaching log, observer’s suggestions, and the feedback from students.   Below are the results from the research: I.Principle of the activity design: A. Using the body awareness including self-exam and sensing to start the class, it would not only warm up the body but also the mind. B. Designing movements closely related to the characteristics of cha cha cha. C. Integrating the teaching of body structure into warm up to increase the better effects of the course design. D. Awareness of procure of Warming up is important. II. Teaching method: A. Using imagery in teaching could help students’ performance. B. Using related teaching equipment could assist students to sense the movements'' quality. C. Arranging some exercises in couples enhanced the atmosphere in classroom and increased the effects of later partner teaching. D. Individual correction can help students to break limits on themselves. III. Students’ benefits: A. Proper warm-up helps students to gain more awareness on their body and movements. B. Warm-up exercise helps the coordination of muscles and makes students perform better. C. Awareness of body alignment reduces students’ uneasiness while dancing and helps them to dance fluently.
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HWEI, OU MEI, and 歐美惠. "A research for the situation of Kaohsiung City’s adults learning Ballroom Dance and relevant factors." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82561968047631030696.
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碩士國立高雄師範大學
成人教育研究所
93
Abstract This research is focused on the situation of the adults in Kaohsiung City learning Ballroom Dance and relevant factors. Also, it’s going to find out the distinctions of the common factors from adult learners with different backgrounds. The main objects of this research : 1. To know the current situation on adult learners in Kaohsiung City learning Ballroom Dance. 2. To know these learners’ background factors like their sex, age, occupation, marriage, education level, economical situation, etc. 3. To know these learners’ learning motivation, what they have learned and what difficulties they have. 4. To discuss how personal background factors like sex, age, marriage, educational level, economical situation affect these learners’ motivation to learn, the effect of learning and difficulties of learning to dance. To achieve these objects , this research takes Focus Group as pioneer research. Questionnaires are made for data collection and analysis. Most of the subjects are adult learners in Kaohsiung City. Totally, the researcher delivered 450 questionnaires, and 420 of them returned. Among the 420 questionnaires, 373 were available (82.8%). About 60% (59.2%) of these subjects were females, and they did not have jobs, and 37.2% of the subjects are about 40~49 years old. 75.3% have stable and continuous marriage. Half of them (50.9%) are below senior high school (include). 42.6% of them have 30000-60000 NT dollars for totally income per month. After collecting the questionnaires, the researcher processed declarative statistics, t-test, one-way ANOVA with the software SPSS. Here are the conclusions for the research: 1. According to the learning situation observed in the research, most of the subjects have learned to dance for less than 6 years. For the ways of learning, we can see them as individual learning and group learning. For most of the teachers the learners have are introduced by their relatives and friends. Besides, they could also find teachers they want by visiting the dance studio or joining in the dance club. When choosing dance teachers, almost all learners want someone who is enthusiastic with dances, and someone who will cater for the learners’ expectations of learning. They also need teachers who have won first prizes in dance contests. Learning fees might change depends on the learning style and the teachers the individual learners usually need to pay more compared with learners learning in group. Teachers with more experiences in teaching dancing or having won more prizes in dance competitions will charge more from learners. Expenses for each section of time might be different according to the sex places and time. The places chose for dancing will usually be the green fields in parks, dance studio, and dance hall. The time for dancing is usually the learners’ leisure time. The time span of dancing will be once a week commonly, once in two to three days and once each day for most. When choosing the partner for dance, the learners take the excellence of the dancing skills sensitivity to the dance songs, body shapes, and looking into the most important consideration. Almost all the subjects are font of dancing, even crazy about dancing. 2. Based on some relevant factors of learning, I had five conclusions: (a) On the respect of sex, males have more motivation and higher effectiveness in learning Ballroom Dance. Females have more difficulties from learning to dance compared with males. (b) On the respect of age, learners, despite of different ages, do not have distinctive motivation, effect of learning, and the hindrance. (c) On the respect of marriage situation, except the “sexual relationship” improved with joining in dancing, there is no difference in other factors like motivation and difficulty. (d) On the respect of educational level, Ballroom Dance learners with different educational levels had a few differences in motivation and the effectiveness of learning. However, learners with lower educational levels did have more difficulties for learning. (e) On the respect of economical situation, learners with different amount of income have few differences in what they learn. But there are some obvious factors like “deep feeling” and “professional expectation” lying in the motivation of participating learning. Keywords : Kaohsiung City、adults、Ballroom Dance
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Tsai, Tsun-Wei, and 蔡存維. "The Effect of Ballroom Dance on Pain and Disability in Patient with Chronic Low Back Pain." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/89459173670208521128.
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碩士國立體育大學
運動保健學系碩士班
100
The arm of this study was to examine whether ballroom dance could improve pain and disability in CLBP patient. Twenty-four participants who were diagnosed chronic low back pain, recruited through employees of company finally. Participants were assigned to an exercise group (N=12; 38.25 ±7.07 years old) or control group (N=12; 35.33±5.14 years old). The Exercise group participated in group ballroom dance twice a week for eight-week. All participants were underwent the Roland-Morris Disability Questionnaire (RMDQ), Visual Analog Scale (VAS) and muscle activation before and after eight-week ballroom dance program. A two-way mixed was employed with group and time as independent variables. The results showed that RMDQ was decreased by exercise group compared to pre-test and control group, but VAS was insufficiently decreased. And muscle co-contraction activation and feed-forward muscle recruitment were effected by exercise group compared to pre-test and control group for Internal Oblique / Transverse Abdominus, Rectus Abdominis and External Oblique. The primary finding of this study is though pain level were insufficiently improved, core stability and disability level were improved by eight-week ballroom dance program.
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Cheng, Mei-Yuan, and 鄭美圓. "A Study on the Relationships of Ballroom Dance Amteurs' Serious Leisure Traits, Enduring Involvement,and Flow Experience." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57437231109950122298.
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碩士大葉大學
休閒事業管理學系碩士在職專班
97
The purpose of the study: (1)Ballroom dance amateurs’ with different backgrounds variate in serious leisure traits, enduring involvement, and flow experience as variables. (2)To understand the relationship between serious leisure traits, enduring involvement, and flow experience. The survey was using purposive sampling, 500 self-administered questionnaires were distributed, resulted in the 462 effective respondents and effective return rate was 92.4 percent. And one-way ANOVA, Pearson’s product-moment correlation and stepwise multiple regression were adopted for data analysis. The results are as follows: 1.There were significant differences in serious leisure traits with different back-ground-sex and month income. 2.There weren’t significant differences in enduring involvement with different back-ground. 3.There were significant differences in flow experience with different background-sex, age and occupation. 4.There was a significant positive correlations between serious leisure traits and enduring involvement.Among them, the「Career」and「Attraction」factors have the highcorrelation, the rest ones have moderate correlation. 5.There was a significant positive correlations between serious leisure traits and flow experience.and the correlation degree is low to moderate. 6.There was a significant positive correlations between enduring involvement and flow experience. and the correlative degree is low to moderate.
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Reid, Shamari K. "A Case Study Exploring the Agency of Black LGBTQ+ Youth in NYC's Ballroom Culture." Thesis, 2021. https://doi.org/10.7916/d8-7tyh-ts41.
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Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context.
Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves. In making connections between the ways Black LGBTQ+ youth feel liberated within ballroom space to use their agency to explore and affirm their identities outside socially constructed norms, the findings of this study point to new opportunities for education research, practice, and policy to learn from ballroom culture about how to better invite Black LGBTQ+ youth into schools in humane and educative ways, encourage their agentive imaginations within education spaces, and promote liberatory school environments that recognize and embrace these youth’s intersectional identities.
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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.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?
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.
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.
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Chiang, Chun-Yi, and 江俊毅. "The Effects of Curriculum Design and Marketing Strategies on Business Performance of Dance Studios：An Empirical Study of the Ballroom Dance Studios in Tainan Area." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/42942672232079960155.
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碩士台南應用科技大學
商學與管理研究所
100
Because of the transition of the generation, people respect not only the quality of their work, but also leisure activities. The curriculum arrangement of the studios whose business model focuses on the professional dance studios rather than fitness club is more monotonous than rich and is not attractive to consumers. Thus, the purpose of the research is to know the practice of curriculum design and marketing strategies in the ballroom dance classes, as well as to know how the curriculum design and marketing strategies affect the business performance of dance studios. This research conducts few personal interviews with the managers and instructors of ballroom dance studios and integrates the data from the interviews to gain useful information. The findings of the research are: 1. If curriculum design distinguishes different learning segments and different dance subjects, the inquisitors is more willing inquire information of these classes; Besides, the majority of students in the studio are learning this kinds of class. 2. If a class is the technique-oriented, students are more willing to join the second-round classes and so on and thus the length of the class of the courses will be longer. 3. If teachers have an background of various kinds of the dance, they’ll integrate the viewpoints from various dances to affect the learning will of the particular segment; If they just have a background of single kind of dance, they’ll alter the way of instruction to improve the learners’ learning will. 4. The curriculum design of ballroom dance studios tend to become richer. 5. The major pricing method of the ballroom dance studios is competition-oriented and the class price is similar in the neighborhood. Thus, the number of students in each studios is less affected by class price. 6. The referral from related people is the major source of students in all ballroom dance studios. And the awareness of instructor highly affects the inquiring and learning will of students.
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Atkins, Jennifer. "Setting the stage : dance and gender in old-line New Orleans Carnival balls, 1870-1920 /." 2008. http://etd.lib.fsu.edu/theses/available/etd-04132008-203018.
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Thesis (Ph. D.)--Florida State University, 2008.Advisor: Suzanne Sinke, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed July 16, 2008). Document formatted into pages; contains viii, 250 pages. Includes bibliographical references.
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Yi-Chien, Chen, and 陳怡謙. "The study on stress management of ballroom dance competitors with focuses on the duration of competition, diet, and sleep." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/14533583235383071794.
Full textAbstract:
碩士國立台灣體育學院
休閒運動管理研究所
95
The purpose of this study was to investigate the differences of the stress levels experienced by ballroom dancing competitors with focuses on the duration of the competition, diet and sleep. A total of two hundred and twelve ballroom dancing competitors, above the age of 18 and with more than two years of dancing experience, participated in this study. With the use of quantitative method, participants self-reported their stress levels on the duration of competition, diet, and sleep during the competition. The results were analyzed by descriptive statistics and Pearson Product Moment Correlation. The result revealed that ballroom dancing competitors got pressure while engaging in the dancing competition, especially experiencing the stress of sleep. No significant difference was found on stress levels between genders. Nevertheless, significant differences were shown on the stress levels among different ages and years of dancing experience.
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Slavíková, Petra. "Současný a společenský tanec: odlišná taneční prostředí pohledem tanečníka a diváka." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336409.
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The thesis examines the phenomenon of nonverbal communication via dance from the perspective of anthropology of dance. The objective of the thesis is to analyze the dance environment of contemporary and ballroom dance, based on the point of view of the dancers as well as of the audience. I determine the differences in the ways these forms of dance communicate through dance performances. I examine how dance functions as a means of language, on which level the communication is processing and what meanings and messages the audience decodes within the dance performance. The phenomenon of dance in its natural environment is studied semiotically, as a form of language in certain context. The fieldwork method is based on participant observation and semistructured interviews with both dancers and audience. The research was conducted in the studio of Nová scéna - Lidé v pohybu in Prague, which teaches contemporary dance, and in the dance club Akcent Dobruška, which focuses on ballroom dance. Keywords: Anthropology of Dance, Nonverbal Communication, Contemporary Dance, Ballroom Dance, Semiology, Performance, Audience, Meaning.
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Šťastná, Zuzana. "Systémy hodnocení soutěží v tanečním sportu z pohledu porotců." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-404313.
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Title: Judging systems of competitions in dance sport from judges point of view Objectives: The main goal of the thesis is to introduce the absolute judging system used on a dances sport competitions 3.0 to a wider public, and to describe differences between absolute judging systems 2.0, 2.1 and 3.0. Next goal is to map opinions, knowledge and attitudes of the TOP judges of the CDSF towards the judging systems of the dance sport. Methods: To obtain the necessary data for the elaboration of the thesis was used a method of electronic questionnaires. For the elaboration of a theoretical part of the thesis were used primary sources, professional literature and experts' own materials. Result: The thesis maps used systems of dance sport in the Czech Republic and abroad and their main progress towards objective and measurable judging. Based on survey, the questionnaire reveals the knowledge, opinions and attitudes of the Czech TOP judges towards System 3.0. In fact, the thesis is a breakthrough, because even though the absolute judging system 3.0 is already used in practice, there is still no Czech written documentation of its work or usage. Keywords: Dance sport, Latin, Ballroom, Dance, Judges, Judging systems, Sport, The questionnaire
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Oliveira, Catarina Dias Real de. "As danças de salão brasileiras como base para exercícios de desenvolvimento técnico e interpretativo no ensino de piano." Master's thesis, 2019. http://hdl.handle.net/1822/63513.
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Relatório de estágio de mestrado em Ensino de MúsicaO presente Relatório de Estágio é o resultado do trabalho realizado ao longo do ano letivo de 2018/2019, no âmbito do Estágio Profissional realizado no Conservatório Bomfim de Braga, nos Grupos de Recrutamento M17 (Piano) e M32 (Classes de Conjunto), inserido no Mestrado em Ensino de Música da Universidade do Minho. A motivação para este projeto de intervenção despontou do interesse por mim desenvolvido nos últimos anos pela prática de danças de salão brasileiras, algo que se revelou extremamente frutífero no campo da minha conscientização corporal e da promoção de uma desenvoltura da minha técnica pianística. O tipo de linguagem presente na ‘dança a dois’ incide em aspetos que podem contribuir para a abordagem ‘não verbal’ existente entre o pianista e o seu instrumento. A intervenção realizada teve como objetivo desenvolver exercícios que, inspirados no conceito de ‘ação-reação’ da dança de salão, permitam ao docente induzir o aluno a melhorar a sua conscientização corporal, adquirindo assim um maior domínio do seu corpo e, por conseguinte, do seu instrumento. Numa primeira fase, o estágio consistiu de observação e documentação de aulas lecionadas pelo professor cooperante, permitindo a elaboração de um diagnóstico detalhado de cada aluno. Foi também realizada uma extensa pesquisa bibliográfica que incidiu tanto no âmbito da pedagogia do movimento no ensino da música, como da conscientização corporal, de forma a evidenciar o elo presente na teoria desta intervenção. A segunda fase cingiu-se à elaboração dos exercícios a serem postos em prática com os alunos selecionados e à avaliação do potencial dos mesmos para promover a conscientização corporal e, consequentemente, desenvolver compreensão e domínio de aspetos técnicos pianísticos. Seguindo um modelo metodológico de investigação-ação, os dados recolhidos ao longo da intervenção incluíram uma entrevista a um professor experiente de danças de salão, grelhas de observação das aulas, registo audiovisual das aulas com os exercícios, uma grelha de avaliação dos vídeos preenchida por professores externos e conversas informais com os alunos e o professor cooperante, para além de observação direta. A análise dos dados recolhidos revelou um impacto bastante positivo dos exercícios nos alunos, tendo este sido atestado por professores externos ao estudo, assim como pelos alunos, que se demonstraram recetivos e entusiasmados durante a prática dos mesmos.
This report stems from the internship that took place at the Bomfim Conservatory, Braga, during the 2018/2019 school year, in the scope of both M17 (Piano) and M32 (Music Ensembles) recruitment groups, integrated in the Master's Degree in Music Education at Universidade do Minho. The motivation behind this project was based on the strong interest that I have developed by Brazilian ballroom dancing in the past years, which lead me to improve in great length my body awareness, thus proving itself a very helpful tool in enhancing my piano technique. The type of language used in a ‘couples dance’ addresses aspects that can contribute to a non-verbal approach between the pianists and their instrument. This project aimed to conceive exercises inspired by the ‘action-reaction’ concept from ballroom dancing, allowing the teacher to induce better embodiment in the students, thus improving their body awareness and, through it, their own piano technique and musical expression. The first phase of this internship was dedicated to class observation and documentation, in order to better diagnose the students involved in the project. There was also an extensive bibliographic research regarding both the pedagogy of movement in music teaching and body awareness, in order to better support the argument at stand. During the second phase, the conceived exercises were put to practice with some of the students that took part of this internship, as well as some other non-project-related supervised lessons, with respective planning documentation. Following a methodological plan of action-research, the data collection included an interview with an experience ballroom teacher, observation grids of the lessons, video recordings of the exercises, evaluation grids filled by external teachers, informal conversations with the participants and direct observation. The data analysis revealed a positive impact of the exercises on the participants, with positive feedback from teachers outside this project, as well as by the students, who were recorded excited and receptive throughout the project.
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Ježková, Martina. "Společenský tanec jako forma využití volného času." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-330058.
Full textAbstract:
Annotation: This thesis aims to reveal to the general public, what dance is in the eyes of professional dancers, and to recommend ballroom dancing as one of the very good ways to meaningfully use their free time. The aim is to find out how pupils and students under 20 years of age spend their free time and how they perceive dance as a leisure activity. This work is divided into theoretical and empirical part. In the theoretical part, I explain the concept of free time and the importance of meaningful use of it. Further, I detail the history of dance, which shows why people started to dance and what it yields to them. The theoretical part also includes information about the dance sport, institutions providing dance training, sports nutrition, and also the fact that dance can help and heal. The empirical part is devoted to questionnaires measuring how much of their free time children spend on dance activities, and guided interviews with professional dancers who let us peek into their dance world. These dancers will answer the questions: why dancing became their way of life, what positives and negatives it brings, what is so beautiful and liberating about the dance, and also why a place called Blackpool is often mentioned in the dance environment.