Dissertations / Theses on the topic 'Ballroom dancing. Ballroom dancing Ballroom dancing'

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Bachelors
Arts and Humanities
Philosophy

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.

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.

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).

No intuito de contribuir com as recentes abordagens de marketing e de comportamento do consumidor que tratam de tribos e comunidades pós-modernas (Cova, 1997; Cova e Cova, 2002), e seguindo o caminho da coletivização na literatura de sociologia (Bauman, 2003; Maffesoli, 2002), que discute o retorno do homem contemporâneo a uma nova busca pela coletividade, esta pesquisa, de caráter qualitativo, tem como principal objetivo colaborar para o entendimento da dinâmica de adoção à prática da dança de salão, esta entendida como o conjunto de danças praticadas a dois (Massena, 2006). Para isto, foi investigado se (e como) esta atividade exerce o papel de valor de ligação (Cova, 1997) entre os membros da comunidade da dança, e identificado se outros bens e serviços relacionados a esta atividade também exercem essa função de valor de ligação. Deste modo, vinte pessoas (oito do sexo masculino e doze do sexo feminino), moradores do Rio de Janeiro e alunos de uma renomada escola de dança de salão do bairro de Botafogo, foram submetidas a entrevistas em profundidade, ao longo do mês de fevereiro de 2008. Os resultados sugerem que a dança de salão funciona como valor de ligação entre os membros dessa comunidade, uma vez que, segundo os informantes, esse serviço é muito mais um elemento de conexão com o outro que um elemento individualizante e diferenciador. Entretanto, não ficou evidente a existência de outros produtos relacionados a esta atividade que funcione como valor de ligação.
In intention to contribute with the recent approaches of marketing and consumer behavior that deal with tribes and postmodern communities (Cova, 1997; Cova and Cova, 2002), and following the way of the collectivization in the literature of sociology (Bauman, 2003; Maffesoli, 2002), that discuss the return of the contemporary man to a new search for the collectivity, this research, of qualitative character, have as main objective to collaborate for the understanding of the dynamics of adoption to the practical of the ballroom dancing, this understood as the set of practiced danced by two (Massena, 2006). For this, it was investigated if (and as) this activity exerts the function of linking value (Cova, 1997) enters the members of the community of the dance, and identified if other related goods and services to this activity also they exert this function of linking value. In this way, twenty people (eight of masculine sex and twelve of the feminine sex), inhabitants of Rio de Janeiro and pupils of a famous ballroom dancing school from the neighborhood of Botafogo, had been submitted the interviews, throughout the February of 2008. The results suggest that the ballroom dancing functions as linking value between the members of this community, according to informants, this service is much more an element of connection with the other than a individual and differentiator element. However, the existence of other products related to this activity was not evident that functions as linking value.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Este estudo investiga os significados atribuídos ao lazer por consumidores de Terceira Idade que frequentam grupos de reunião musical e aulas de dança de salão. Especificamente, buscou-se estudar a experiência desses consumidores em atividades de lazer em grupo e de que forma atribuem significado às vivências e às relações sociais e de amizade que ocorrem em espaços sociais de lazer. No contexto desta pesquisa, o consumo de lazer não é visto apenas por seu aspecto utilitário, mas é compreendido a partir de seu conteúdo simbólico, em que os consumidores atribuem significados ao consumo expressando seus valores, estilos de vida, categorias, identidades sociais e projetos coletivos. Ao privilegiar, a dimensão simbólica do consumo sob a perspectiva de marketing, o presente estudo se insere em uma linha de estudos em marketing que se apresenta como CCT – Consumer Culture Theory. Nesse contexto, a presente tese se filia ao paradigma interpretativo, ao partir dos aspectos subjetivos do consumo para perceber as relações dinâmicas das ações de consumidores e os significados socialmente construídos. Para condução do presente estudo, optou-se por utilizar métodos de inspiração etnográfica – a observação participante e as entrevistas em profundidade – buscando fazer parte da experiência vivida pelo idoso para compreender os significados a ela atribuídos. A pesquisa de campo incluiu dois grupos de idosos. O primeiro grupo é um encontro musical de seresta, sendo realizada a observação participante por um período de aproximadamente seis meses. As entrevistas em profundidade foram realizadas com 15 idosos participantes do grupo e com o fundador e líder do grupo. O segundo grupo estudado é voltado para dança de salão. Novamente, foi feita a observação participante durante um período de seis meses e entrevistas em profundidade com 16 idosos participantes. Os registros em diário de campo e as entrevistas foram analisados conjuntamente e permitiram identificar os significados que os idosos associam ao consumo das atividades de lazer analisadas. Realizou-se, inicialmente, uma análise de cada atividade de lazer. Para cada grupo, os significados identificados emergiram das análises. Em seguida, foi feita uma análise cruzada dos resultados obtidos para os dois grupos. Verificou-se que, embora possa haver significados comuns às atividades de lazer, há também significados distintos atribuídos à mesma atividade e a diferentes atividades. Estes resultados sugerem a existência de grande variedade de necessidades por detrás das escolhas de lazer dos idosos. Tais resultados sugerem ainda que a pesquisa sobre lazer de idosos deve levar em conta a heterogeneidade deste grupo de consumidores, evitando trata-los de forma reducionista, como se se tratasse de grupo homogêneo, caracterizado unicamente a partir de suas dificuldades físicas. Já no que se refere à aplicação empresarial, os resultados do estudo sugerem que os consumidores idosos podem ser segmentados a partir de distintos significados atribuídos ao lazer, que parecem traduzir os benefícios buscados por esses consumidores.
This study investigates the meanings of leisure for the elderly people who attend a musical encounter and a ballroom dancing class. Specifically, the study investigates these consumers experience of leisure group activities; and how they extract meaning from these experiences and from the social relationships that occur in these social spaces of leisure. In the context of this research, consumption is not seen only by its utilitarian nature, but it is rather understood in its symbolic aspects, as consumers create meanings in order to express their values, lifestyles, categories, social identities, and collective projects. By focusing on the symbolic dimension of consumption from the marketing perspective, this study is positioned as part of a line of research in marketing known as CCT - Consumer Culture Theory. In this context, this thesis is affiliated to the interpretive paradigm, departing from the subjective aspects of consumption to understand the dynamic relationships between the consumers actions and the social and cultural meanings created. Methods of ethnographic inspiration – participant observation and in-depth interviews – were used to conduct this study. These methods permitted to be part of the leisure experience lived by the elderly as a means of understanding the meanings attributed to the experience. Fieldwork included two groups of elderly people. The first group is a musical encounter group called Seresta. Participant observation covered a six-month period; 15 elderly participants were interviewed in-depth, plus the founder and leader of the group. The second group included the elderly that participated in ballroom dancing classes. Again, participant observation lasted for six months and in-depth interviews were conducted with 16 participants. Fieldnotes and transcripts of the interviews together permitted to extract the meanings assigned by older people to these leisure activities. First, each activity was analyzed separately. For each group, meanings emerged from the analyses. Then a cross-group analysis was performed. The results showed that, despite meanings that are shared by the two leisure activities, each activity showed different meanings, or different nuances of the same meaning, and some of the meanings identified only appeared in one of the activities. These results suggest that there is a great variety of needs behind the leisure choices made by the elderly. In addition, the results indicate that leisure research focusing the elderly should take into account the heterogeneity of this group of consumers, therefore avoiding a reductionist approach that considers the elderly as a homogeneous group based on their physical limitations. As to managerial implications, the results of the study suggest that firms can segment the elderly consumers by the different meanings attributed to leisure, which can be equated to the benefits aimed when choosing their leisure activities.

Background The world’s ageing population is frequently cited as presenting economic and social burdens and critical challenges to healthcare systems, with falls and mental health featuring as two of the biggest burdens. Whilst physical activity is recommended for older adults to optimise functional independence and guidelines for the intensity, duration and frequency of physical activity exist, there are few guidelines on the specific types of exercises that are recommended. As a physical activity that incorporates the recommended aspects of aerobic, strengthening and balance work, the aim of this study was to explore the influence of ballroom dancing on the physical, mental and social health of community-dwelling older adults. Method A qualitative-dominant, concurrent mixed-methods design was utilised. Ethical approval was granted via the University of Huddersfield’s research ethics panel. Participants were community-dwelling older adults (over 55 years of age) who were recruited from local ballroom dancing classes in West Yorkshire. They participated in ballroom dancing classes for at least one hour per week for 12 months and were tested during this period at baseline, and after 3, 6, 9 and 12 months. Demographic details were collected at baseline and the incidence of falls, changes to medical history or medications and levels of exercise were recorded at each data collection point. Quantitative measures of physical function were assessed using the Functional Reach Test (FR test), Timed-Up-and-Go Test (TUGT), the Four Square Step Test (FSST) and Tinetti’s test. In addition, balance was specifically assessed using a Biodex Balance System SD (BBS). The Falls Efficacy Scale-International (FES-I) was completed alongside the Clinical Outcomes in Routine Examination-General Population (CORE-GP) for well-being. The qualitative aspect of the study used semi-structured interviews at baseline, 6 and 12 months. Forty-one interviews were performed with participants individually or in dancing pairs. Qualitative data were managed and analysed using the Framework Analysis approach. Results Of the 26 older adult ballroom dancers recruited to the study who consented to participate, 23 (10 male, 13 female) completed the 12-months of data collection (mean age 66.5 years (SD 5.96 years; age range 58-83 years)). Using a Framework Analysis approach, 4 key themes were identified amongst the sample of older adults. ’Active ageing’ considers physical health perceptions, the acceptance, adaptation and frustrations of ageing and maintaining an active body and mind. The theme ‘class commitment and congruence’ highlights factors that were deemed important to the success of a dancing class and would encourage participants to keep dancing. The ‘Social dance community’ theme considers the influence and dynamics of dancing partnerships and the importance of building social networks. Finally, ‘enjoyment’ acknowledges the role of ballroom dancing for well-being. This study demonstrated a low attrition rate, no adverse effects due to ballroom dancing and a low falls risk in this sample of older adults. The primary outcome was assessment of functional changes between baseline and 12 months, with the 3-monthly intervals serving as interim data collection points. Over the 12-month period, whilst not expected in a feasibility study, there were no significant changes in the FR test, TUGT, FSST or Tinetti’s test. For the CORE-GP scale 97.5% of recordings were within the ‘healthy’ well-being score range, and there was a 10% decrease in points-score for the FES-I, indicating a possible substantive finding for clinical practice. The BBS tests demonstrated women had a statistically significant better level of postural stability then men, and as a group, their scores on the FR test were significantly lower than normalised scores for their age group. Discussion The findings suggest that ballroom dancing should be promoted by health professionals as a socially inclusive,safe physical activity that provides considerable pleasure. In addition to the current literature, the ‘pleasure of practice’and the ‘pleasure of community’are two types of pleasure suggested to be associated with ballroom dancing. Ballroom dancing also enhances opportunities for physical, psychological and social resilience in older adults by resisting age-related physical decline, assisting with acceptance of the ageing body, providing a strong sense of enjoyment and well-being and helping to form strong social connections, which are all important factors for resilient ageing. It is recommended that future comparative studies are of an adequate power to detect group differences that may exist in quantitative outcome measures, such as assessing balance with the BBS. A control group should be used for comparison with the ballroom dancing intervention group, with the intervention group all starting ballroom dancing at baseline. Given the findings of this study that the participants appeared to be high functioning when performing physical tests, it is recommended that alternative outcome measures are sought that will discriminate sufficiently amongst community-dwelling older adults.

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.

Dans är aktivitet som väcker positiva emotioner och förknippas med bland annat högtider, musik, social gemenskap, motion och andra positiva händelser, vilka är faktorer som kan bidra till lycka. Exempelvis har forskningsvärldens nyfikenhet på fritidsaktiviteter lett till att pardans, som generellt setts som en social och kulturell aktivitet, numera blivit accepterad som alternativ behandlingsform mot psykisk ohälsa såsom stress, ångest och depression. Dock fann jag i min litteraturundersökning att det var få studier som var gjorda där man undersökte socialdansen (pardans utan tävlingsinslag) och dess påverkan på friska människors lycka. Därför ämnade föreliggande studie undersöka sambandet mellan socialdans och lycka. För att besvara frågeställningarna mättes de oberoende variablerna duration, intensitet och frekvens i socialdans med de två beroende variablerna livstillfredsställelse (kognitiv lycka) och välbefinnande (affektiv lycka). Självskattningsskalan SWLS användes för att mäta livstillfredsställelse och PANAS C för att mäta upplevt välbefinnande. Deltagarna var 136 socialdansare i åldrarna 19–70 år, från olika delar av Sverige, med en medelålder på 37,83 år (SD = 12,138 år), där 68 procent var kvinnor och 43 procent var män. Multipel linjär regression användes för dataanalysen. Resultaten visade att endast variabeln duration uppvisade signifikant värde gällande prediktion av kognitiv lycka (livstillfredsställelse). Däremot visade också resultaten av samtliga oberoende variabler; duration, frekvens och intensitet, signifikanta värden gällande prediktion av affektiv lycka (välbefinnande).
Dance is an activity that evokes positive emotions and is associated with, among others: festivals, music, community, exercise and other positive occasions; factors that seem to contribute to happiness. The research community's curiosity within the field of recreational activities has for instance led to the fact that ballroom dancing, commonly viewed as a social and cultural activity, now has been accepted as an alternate form of treatment for mental illness, such as stress, anxiety and depression. However, in my literature overview I found that there were few studies on social dancing (basically ballroom dancing without the competitive components) and its effects on healthy human beings' happiness. Therefore, this study endeavors to investigate the relation between social dancing and happiness. To answer the questions, the independent variables duration, intensity and frequency in social dancing were measured and related to the dependent variables of perceived happiness, life satisfaction (cognitive happiness), and general well-being (affective happiness). The selfreport scale SWLS was used to measure life satisfaction and PANAS C to measure perceived well-being. The participants were 136 social dancers 2 between the ages of 19-70 years, with an average age of 37.8 years (SD = 12.1 years); 68 percent were women and 43 percent were men. Multiple linear regression was used for data analysis. The results show that only the variable duration showed significance in predicting cognitive happiness, i.e. satisfaction of life. However, the results showed that all the independent variables of duration, intensity and frequency showed a significant value for prediction of affective happiness, i.e.general well-being.

Acompanha: Manual didático para oficina de dança de salão “sertanejo universitário” para iniciantes; Vídeo didático: dança de salão "sertanejo universitário" para iniciantes
Este trabalho analisa a percepção da Dança de Salão “Sertanejo Universitário” como uma possibilidade de lazer para estudantes universitários da área tecnológica, com a pretensão sugestiva da prática das aulas, fora do horário da grade curricular. Para tanto, foram pesquisados os acadêmicos dos cursos de engenharia da Universidade Tecnológica Federal do Paraná, Câmpus Cornélio Procópio (UTFPR-CP). O estudo foi estruturado com o intuito de investigar a aceitação da atividade proposta e a forma como os acadêmicos envolvidos no projeto utilizam seu tempo livre, por meio da aplicação de escalas sociais (LQOL-70, pré e pós-oficina de dança). Por razão da pouca vivência e conhecimento desta prática mimética pelos acadêmicos, foi ministrada uma oficina de Dança de Salão “Sertanejo Universitário” e colhidas as opiniões dos participantes para elaboração de um plano de ação, envolvendo uma prática de dança, que pudesse ser utilizado por pessoas com pouco conhecimento na área. Para detectar a aceitação da atividade e a forma como os acadêmicos envolvidos no projeto utilizam seu tempo livre foi utilizado um estudo constando cinco procedimentos: 1- aplicação do questionário LQOL-70, para uma análise geral da perspectiva do lazer dos estudantes e um questionário sobre o conhecimento e interesse quanto à dança; 2- realização de uma oficina com movimentos básicos de Dança de Salão “Sertanejo Universitário”; 3- aplicação de uma escala social sobre a percepção da dança após a aplicação da oficina; 4- análise dos resultados obtidos; 5- elaboração de um manual e de um vídeo didático com os movimentos básicos aplicados na oficina. Constatou-se que, mesmo com as dificuldades apresentadas pelos acadêmicos em executar algumas das atividades propostas, a maioria expôs sua vontade de praticar Dança de Salão “Sertanejo Universitário” ou outro estilo no futuro e, ao final do estudo, observou-se que a prática, da Dança de Salão “Sertanejo Universitário” foi considerada uma atividade de lazer, apresentando-se, assim, uma oportunidade de ampliação das opções de lazer dos estudantes dos cursos da área tecnológica.
This paper analyzes the perception of Ballroom Dancing “Sertanejo Universitário” as an possibility of leisure for college students from technologic area, with the suggestive pretention of practical classes, out the curriculum. For this, were surveyed the academics of engineering courses from Federal University of Technology - Paraná, Campus Cornélio Procópio (UTFPR-CP). The study was structured in order to investigate the acceptance of the propose activity and how the academics involved in the project are using their free time, through the application of social scales (LQOL-70, Pre and Post dance workshop). By reason of little experience and knowledge of this mimetic practice by the students, was given a Ballroom Dancing “Sertanejo Universitário” workshop and was collected the views of participants to draw up an action plan involving the practice of dance that could be applied by persons with little knowledge in the area. To detect the acceptance of the activity and the way the academics involved in the project are using their free time was used a five proceedings study: 1- application of LQOL-70 questionnaire for an overview from the perspective of leisure of students and a questionnaire about knowledge and interest about dance; 2- conducting a workshop with basic practices of Ballroom Dancing “Sertanejo Universitário”; 3- the application of a social scale about dance perception after the applied workshop; 4- analysis of the results obtained; 5- preparation of a manual and a teaching video with the basic movements applied in the workshop. It was found that, even with the difficulties presented by the students in performing some of the proposed activities, the majority stated their willingness to practice Ballroom Dancing “Sertanejo Universitário” or other style in the future and, in the end of the study, was observed that the practice of Ballroom Dancing “Sertanejo Universitário” was considered a leisure activity, presenting, thus, an opportunity to expand leisure options from students of technologic areas.

Orientador: Márcia Maria Strazzacapa Hernandez
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: O presente trabalho tem como principal objetivo realizar um estudo descritivo e analítico dos procedimentos empregados com um grupo de alunos com deficiência intelectual e patologias associadas, que faz parte do projeto de Dança de Salão, há 8 anos, no Instituto do Centro Educação para a Vida Blanca Nieve, situado no Haras Pinheiro, na cidade de Monte Mor/São Paulo. Este estudo delineia a aprendizagem de passos, figuras e desenho coreográficos, analisando a aquisição e a retenção das informações compreendidas face às vivências corporais da arte de dança de salão por parte dos alunos dançarinos com deficiência, isto é, da memória de curta e longa duração. Foram analisados o aquecimento, as tarefas práticas e a técnica de contato de dança de salão. A pesquisa tem como referencial teórico as investigações que foram desenvolvidas na relação entre neurociência e arte além dos estudos sobre deficiência, aprendizagem e dança de salão.
Abstract: This work has as main objective to make a descriptive and analytical procedures employed with a group of students with intellectual disabilities and associated diseases, part of the project Ballroom Dance, 8 years ago, the Institute of Education Centre for Life Blanca Nieve, located in Pine Stables in the city of Monte Mor Sao Paulo. This study outlines the learning steps, figures and choreographic design, examining the acquisition and retention of information included in relation to bodily experience the art of ballroom dancing by students with disabilities, that is, memory for short and long term. We analyzed the heating, the practical tasks and contact technique of ballroom dancing. The research is theoretical investigations that have been developed in the relationship between neuroscience and art beyond the disability studies, and learning ballroom dancing.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

Summary: Salivary alpha-amylase: More than an enzyme - Investigating confounders of stress-induced and basal amylase activity (Dipl.-Psych. Jana Strahler) The hypothalamus-pituitary-adrenal (HPA) axis and the autonomic nervous system (ANS) are two of the major systems playing a role in the adaptation of organisms to developmental changes that threaten homeostasis. The HPA system involves the secretion of glucocorticoids, including cortisol, into the circulatory system. Numerous studies have been published that introduced salivary cortisol to assess HPA axis activity and therefore strengthens its role as an easy obtainable biomarker in stress research that can be monitored easily and frequently. Recent findings suggest a possible surrogate marker of autonomic activity due to autonomic innervation of salivary glands: salivary alpha-amylase (sAA). Up to date, additional methodological research is needed for a better understanding of the advantages and disadvantages of sAA activity in comparison to already established markers of ANS activity. The aim of the present thesis is to further our knowledge of confounders of sAA activity under basal and acute stress conditions and to strengthen the validity of this enzyme as an easy obtainable alternative for ANS testing. After introducing classical and modern stress concepts and stress system physiology (chapter 2), the reader is acquainted with anatomical basics of salivary gland innervation and secretion of salivary proteins, including sAA, due to autonomic innervation (chapter 3 and 4). Afterwards, a more nuanced review of methodological considerations of sAA determination shows gaps of knowledge concerning its usefulness as a marker of ANS activity (chapter 5). Given the fact that the integration of sAA into developmental and aging research is a relative recent phenomenon, several issues have to be addressed before a final conclusion could be drawn. Therefore, we conducted a series of studies incorporating these considerations regarding behavioral correlates of inter- and intraindividual differences in sAA activity with a special emphasis on older adults. Chapter 7 deals with sAA activity under psychological stress conditions in different age groups. Since vulnerability to disease and disease prevalence patterns change with age, it is important to investigate stress reactivity of people in different age groups. We therefore investigated children between 6 and 10 years, because childhood is a sensitive period of growth and development, and thus plays an important role for later life health. Young adults were included to represent the most studied human age group as a reference. Older adults between 59 and 61 years were investigated, because at this age the course is set for the further development of a person’s health in later life, and because autonomic stress responses in older age might be important determinants of cardiovascular and inflammatory aging. Our goal is to test for associations of sAA with more established stress system markers, i.e., salivary cortisol as outcome measurement of HPA reactivity, heart rate (HR) and heart rate variability (HRV) as markers for autonomic reactivity, and to directly compare these responses between different age groups across the life span. Secretion of sAA and cortisol was repeatedly assessed in 62 children, 78 young adults, and 74 older adults after exposure to a standardized psychosocial stressor, the Trier Social Stress Test. In addition, cardiovascular activity was measured in both adult groups. Older adults showed attenuated sAA, HR, and HRV responses. Furthermore, we found higher sAA but lower cortisol at baseline as well as lower sAA and cortisol responses in children. Age by sex interactions were observed only for cortisol with higher responses in older male participants. No associations between the parameters were found. Results in children and young adults confirm previous results. Overall, findings implicate sAA as an alternative or additional autonomic stress marker throughout the life span, with marked and rapid responsiveness to stress in three relevant age groups. The impact of age and chronic stress on basal sAA activity is the center of interest in chapter 8. We therefore assessed diurnal profiles of sAA and salivary cortisol in 27 younger and 31 older competitive ballroom dancers as well as 26 younger and 33 older age- and sex-matched controls. According to the Allostatic Load concept, repeated, non-habituating responses to social-evaluative conditions, which characterize the lives of competitive ballroom dancers, should be associated with stress system dysregulations. Furthermore, we expect to see an increased sympathetic drive associated higher overall alpha-amylase activity in older adults. Analyses revealed an elevated daily overall output of sAA in older adults while there was no effect of age on mean cortisol levels. Alterations of diurnal rhythms were only seen in younger male dancers showing a flattened diurnal profile of sAA and younger dancers and female older dancers showing a blunted diurnal rhythmicity of cortisol. Furthermore, we found a negative correlation between summary indices of basal sAA and the amount of physical activity. In conclusion, higher overall output of sAA in older adults was in line with the phenomenon of a “sympathetic overdrive” with increasing age. Furthermore, a lower output of sAA in people who are more physical active was in line with the hypothesis of an exercise-induced decrease of sympathetic activity. Taken together, results of chapter 7 and 8 show a clear impact of age on sAA activity, either under acute stress or basal conditions. One problem when integrating sAA into developmental and aging research is the use of adrenergic agonists and antagonists what is very common in older adults, i.e. antihypertensive drugs (AD). As well, the previously shown sympathetic overactivity that occurs with normal aging is associated with higher blood pressure (BP). Therefore, chapter 9 deals with a possible impact of high BP and AD on diurnal sAA activity in 79 older adults (33 normotensive adults, 16 medicated vs. 45 hypertensive adults, 34 medicated). Results showed a pronounced rhythm of sAA in all groups. Diurnal profiles differed significantly between men and women with men lacking the typical decrease of sAA in the morning and showing more pronounced alterations throughout the day. An effect of AD on sAA profiles and area under the curve values indicates that subjects not using AD´s show a heightened diurnal profile and a higher total output of sAA. Descriptively, this was also true for hypertensive older adults. Hypertensive subjects and those not using AD showed the highest diurnal output of sAA and the steepest slope. In sum, our results show an impact of antihypertensive medication and a difference between normotensive and hypertensive subjects on characteristics of diurnal sAA activity. Hence, findings are of particular interest in research using sAA as a prognostic indicator of pathological states and processes. Given the fact that hypertension was also shown to be associated with substantial changes of transmitters within the suprachiasmatic nucleus (SCN) - the “biological clock” that receives photic input from retinal glands via the retinohypothalamic pathway - and an altered output from the SCN to the sympathetic nervous system, we broaden the idea of a possible effect of different lighting conditions on morning sAA profiles in chapter 10. In a counterbalanced within-subjects design six men and 16 women of different ages collected sAA morning profiles on two consecutive days with leaving their shutters closed on the one day (= dark) and open their shutters on the other day (= bright). We were able to replicate earlier findings of light-induced changes of salivary cortisol with higher responses during the bright condition. On either day, women showed larger cortisol increases than men. Despite multisynaptic autonomic connections arising from the SCN projecting to multiple organs of the body, we could not find an effect of sunlight on sAA morning profiles. Evidence for circadian clock gene expression in human oral mucosa might account for this result and indicates that peripheral oscillators may act more like integrators of multiple different time cues, e.g. light, food intake, instead of a “master” oscillator (SCN). Results of chapter 7 to 10 provide clear evidence that sAA is heightened in states of autonomic arousal, i.e. stress, aging and hypertension, and that its circadian rhythmicity seems to be regulated rather integrative than directly via efferent input from hypothalamic SCN neurons. In chapter 11 this thesis tries to approach one central question: What is the biological meaning of the findings made? According to this enzyme´s anti-bacterial and digestive action short term changes might not have a biological meaning itself but rather reflect just a small part of multiple coordinated body responses to stressful stimuli. While the sympathetic branch of the ANS mainly stimulates protein secretion, the parasympathetic branch stimulates saliva flow. Acute stress responses might therefore be interpreted as reflecting predominant sympathetic activity together with parasympathetic withdrawal. The same mechanism could also be suitable for the finding of higher diurnal levels of sAA in older adults or hypertensive subjects reflecting a higher peripheral sympathetic tone in these groups. Diurnal profiles of sAA itself may reflect circadian changes in autonomic balance. Circadian rhythms are of great advantage since they enable individuals to anticipate. This pre-adaptation enables the individual to cope with upcoming demands and challenges. Our finding of a relationship between sAA and salivary cortisol what strengthens the relevance of glucocorticoids that were previously shown to be able to phase shift circadian rhythms in cells and tissue. Within a food-related context there is evidence that decreasing levels of sAA in the morning could reflect increases of feeling hungry since sAA systematically increases during food consumption and with the subjective state of satiety. So far, much more research is needed to identify underlying physiological mechanisms of circadian sAA rhythmicity. Taking the next step, future studies will have to focus on the integration of sAA assessment into longitudinal studies and different disease states to prove its applicability as a marker of sympathetic neural functioning in the genesis and prognosis of disease.

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.

碩士
國立台灣體育學院
休閒運動管理研究所
95
The research method of this study was questionnaire survey. The samples were selected with simple random sampling from “2006 The Popular Games in Taiwan”,”2006 The President Cup of Dance Sport Championship” and ”The 33rd Giant Cup of Ballroom Dancing Public Competition”. The total samples of were 259 and the valid questionnaires were 179, and analyzed it by descriptive statistics, t-test, one-way ANOVA, and Scheff’s method in order to find out the justice factors and improve strategy of ballroom dancing competition. The results were as follows: 1.The main factors that influenced competition justice were host unit, judges, and the classification of athlete in Taiwan ballroom dancing. 2.Gender and education level have not achieved the significance level in the prospect of competition justice. Ages and different groups of athletes have achieved the significance level in the prospect of host unit, judges, and etc. Namely, the higher age group or higher ranks of athletes has the strong identification with this study. 3.The government should verify and supervise the competition, and set up the regulations; the criterion should be rhythm, basic technique; athletes should be classified by capable level, and set up the promotion standard.

碩士
景文科技大學
文化產業與創新設計所
101
The application of interactive program integrating with game has become an integral part of our current life. It has not only influenced our lifestyle, but also changed the way we gain the knowledge and skills. Traditional education programs such as the learning of dancing, cooking, music, all must be done by specialized teachers teaching courses in a particular place, or video publishing and other ways to reach students; The former is limited by place and schedule, the latter is restricted by the presentation of the publishing tools; according to this, most of the educational program which combined with multimedia applications are generally applied as serious games in our life. This research applied the Case Studies Method by developing the interactive teaching system with ballroom dancing learning subject, it made use of the serious games can bring strong motivation to learn and improve learning efficiency. And by conducting the questionnaire survey at the end, this research evaluated the teaching content and programing attitude from the dance learners who use computer to learn, therefore the conclusion is as follows: First, educational software should be designed in simple operation principle. Second, human-computer interaction interface and the information content it provided must meet the needs of learners. Third, in the interface design, each design should truely convey the learning contents. Fourth, the combination of multimedia must play the characteristics as operation tools.

碩士
國立臺北藝術大學
舞蹈研究所理論組
102
Ballroom dancing has become increasingly popular in Taiwan either as a leisure activity or as a category of sports competition. Against this backdrop, how its foreign origin merges with the local Taiwanese culture has become an issue of paramount importance. Nevertheless, an in-depth literature review has revealed a scarcity of research that systematically delineates the development of ballroom dancing in Taiwan. Therefore, through document analysis and interviews, the current paper documents the development of ballroom dancing extending from the 1950s to today. On the basis of the evolution of the name of ballroom dancing, I divide the history of ballroom dancing into three phases---1950-1969, 1970-1989, 1990-now---exploring its features and developmental trajectory. The study shows that the evolution of ballroom dancing primarily encompasses six domains---“Environment”, “Name”, “Participant”, “Teaching”, “Management”, and “Teacher”--- jointly reflecting a trend for ballroom dancing to become an increasingly recognized sport in Taiwan. I conclude the study by providing possible solutions to problems associated with the development of ballroom dancing in Taiwan. The problems being related to three aspects, namely, “Research”, “Teaching”, and “Competition”, I call for concerted efforts in rewarding academic achievement, integrating resources, and ensuring fairness in competition, with the ultimate goal of attracting more attention and therefore creating a propitious future for ballroom dancing in Taiwan.

碩士
國立臺灣體育學院
體育研究所
92
The purpose of this study was based on dual task design paradigm to investigate the effects of stance postural control for ballroom dancers under the conditions of auditory interference. Twenty college students by each group who were active in ballroom dance, active in the other exercises, and sedentary students respectively volunteered to participate in this study and were asked by randomization to stand quietly in one foot with eyes open (quiet stance), quiet stance with the interference of the bar counting of slow music simultaneously (quiet stance with slow music), and quiet stance with the interference of the bar counting of quick music simultaneously (quiet stance with quick music). The Catsys 2000 system was used to record and to analyze center of pressure displacement in the parameters of mean sway, transversal axis, sagittal axis, sway area, sway velocity and sway intensity during three periods of balance control. 3 (standing condition) × 3 (recreational activity) mixed design two way ANOVA and the least significant difference post hoc test with an alpha level of .05 were adopted to analyze the statistical differences. The results showed that among the three groups of participants, the mean sway during both the conditions of quiet stance with slow and quick rhythmic countings were significantly less than the simple condition of quiet stance (p<.05). Regarding the performance of balance control, the group of ballroom dance was significantly better than the group of active in the other exercises and the group of sedentary under three standing conditions (p<.05) besides displacement of sagittal axis during simple task of quiet stance (p>.05). The findings indicated that the performance of one foot balance control did not regress when it was combined with the secondary task that demanded attention under the interference of the bar counting of music. This study supported that ballroom dance as a recreational activity indeed enhanced the performance of stance postural control.

碩士
國立高雄師範大學
表演藝術碩士學位學程
105
ABSTRACT Since 1980, Social Dancing has been widely popular around the world. Ballroom Dancing was developed in the early 20th century by Imperial Society of Teachers of Dancing (International Society of Trpographic Designers ISTD), who standardized the steps and styles of Social Dancing. The influence and importance of Ballroom Dancing has been gradually increased and evolved with many factors including politics, economics, and culture. However, in last twenty years, there are significant cultural differences in north and south Taiwan, introducing difficulties in promoting Ballroom Dancing and causing the unfair conflicts in competitions. This leads to the fact that the athletes of Ballroom Dancing in Taiwan can only attend the competitions of in World Series and East Asian Games. Moreover, due to the insufficient funding and incomprehensive strategies on development of dancesport, the Sports Administration is unable to support all the Sports Dance Committee and the Dance Association with the limited resources. Therefore, the goal of this research is on how to acquire sufficient financial support, promote the dancesport and train the good athletes in Taiwan. This research adopted the qualitative research methodology including the interviews, surveys (purposive sampling) and literature review. Results show that the dancesport studios can balance budget only by arranging the dance classes of other types and then fails to focus on the full training of Ballroom Dancing. On the other hand, in order to make more good athletes to participate the competition, the quality of competitions needs to be enhanced by eliminating the inappropriate judgments on personal reasons from referees. Show the scores in public during the competitions, (especially in High Group： Occupational groups or Occupational Opengroups), can ensure the referees make fair decisions when considering public opinions, providing the references to other competitions on choosing good referees. Every Sports Dance Committee should use the training time of athletes to let the professional instructors teach the athletes how to prevent the sport injuries and rehabilitate after injuries. Therefore, how to promote the high quality of competitions and attract the public and the sponsors to support the dancesport events by marketing become more and more important.The Sports Administration in Taiwan that we should focus on improving and revising the rules of the dance sport, evaluating and controlling the qualities of judges, and training the contestants for enhancing their skills. Most importantly, the dance sport should be promoted as one of the well-known sports in Taiwan.

碩士
國立臺北教育大學
文化創意產業經營學系
103
Follow the course of sample action research, researcher experienced all the sample cases, observed all the events, interviewed people of concerned, collected and studied all the questionnaires , analyzed through investigations, summed up ideas, concluded opinions and preferences, and inductive workable methods and made the persuasive suggestions. Structurally it comes to 4 stages: 1. collecting samples cases. 2. clarify the actual situation. 3. By visit people of influence that the researcher familiar and by collecting all the questionnaire the researcher designed , among the actual cases , the researcher investigate the historical background influences, check the inconveniences of each environment , study the expansion possibility, find out the potential users. 4. By visit and the questionnaires back from people in concerned, the resercher conclude and make all advantageous , inductive methods to the public. upon the samples cases selection, researcher chose from her life experiences cases according to 1. its importance in the world scale, 2. its strategies role on Asia impact, 3. its additional economic values by adaption of its local historical or sightseeing resource or 4. its reconstruction or renovation for a better competition environment. upon research structure: Horizontally researcher based on ballroom, latin categories, ages limits: children, adults, professional, amateur, competitions organizers assorted and analyzed their differences and of their same feathers. Vertically researcher based on organizations and iii adjudication systems and the development of ballroom dancing made the comparison among them. And finally, with researcher’s background in dancing field, as a dancing fan, fascinated by all ballroom competing in many countries, passed all examinations from member, associates, fellow to actual practice as adjudicator at competitions, gather same wishes from members of Shanghai foreign dancers association, researcher submit suggestions on strategies for international ballroom competition organizers and ballroom dancing fans.

碩士
臺北市立大學
體育學系碩士在職專班
106
The purpose of this study is to understand current status of audience satisfaction when viewing international ballroom dancing competitions and to evaluate the various factors affecting the degrees of such satisfaction. In this study, a questionnaire, titled “Survey of Audience Satisfaction in Viewing International Ballroom Competitions”, was designed and quantitative measures were scored using Likert five-point scale. The audience who attended recent international ballroom competitions in several cities in Taiwan was sampled. A total of 480 questionnaires were distributed and 450 responses (93.75%) were returned. Employing a combination of descriptive statistics, independent sample t test, single-factor variance analysis, single-factor reproducibility analysis, and LSD analysis of the survey results, the following observations have been made: 1. The factors affecting the motivation of audience to attend ballroom dancing competition events are in order of importance: “the ambience of the competition event”, “the feelings of entertainment and leisure”, “gaining knowledge about ballroom dancing”, and “engaging in social contact and networking”, with greatest weight in “the ambience of the competition event” and “the feelings of entertainment and leisure”. 2. The factors pertaining to sex, age, professions and income exhibit significant variations in their motivation to attend the competition events. 3. Audience generally expresses satisfaction in four aspects, and the degrees of satisfaction in these four aspects are in the order of “peripheral services and additional attributes”, “the standards and specifications/rules of competition”, “program flow and ambience”, and “facilities, venues, and transportation”, with the greatest emphasis in “peripheral services and additional attributes” and “the standards and specifications/rules of competition”. 4. The factors pertaining to sex, age, professions and income exhibit significant variations in the audience’s degree of satisfaction, but factors pertaining to average monthly income exhibit little variation. 5. The overall motivation to attend and the overall degrees of satisfaction attain a correlation coefficient ofγ=.50.

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.

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.

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.

碩士
臺北市立大學
休閒運動管理學系碩士班
107
The purpose of this study is to help the Middle-aged with Physical and Mental Disabilities improve their social interest and reduce loneliness through dance sports intervention courses. The ballroom dancing course interventions were conducted for a span of 8 weeks (once a week, 120 minutes every time). The study samples selected a mental health rehabilitation institution in Miaoli County with a total of 10 middle-aged people with mild chronic mental illness and mental retardation. The measures for the interventional effects including: the social interest scale developed by Meng (2009), Lin and Lin (2007) revised Chinese version of the loneliness scale based on Gierveld and Kamchais (1985), the observation list of dancing class activity and the comprehensive interview. Question regarding the overall classes. The main results of this study are as follows: 1.The progress of the overall social interest scale has reached significant differences. Four of the five dimensions have made significant progress. Among them, " connection " and "cooperation" have the greatest progress, and each item has reached a significant level; In the " connection " dimension, "I will care about the people around me" has the highest score. In the "Cooperation" dimension, "Life is a need to work through each other" has the highest score, indicating that the study case was participated in the 8 weeks ballroom dancing course. Great progress has been made in enjoying the corporate atmosphere and working with partners to help each other complete tasks, which are related to ballroom dancing personality and course design. 2. The overall loneliness scale has reached significant differences. The two dimensions of "sociality" and "emotionality" have been significantly reduced, and each item has reached a significant level; "Social" dimension has "very few people" Let me feel close. "Lower the scores. In the "Emotional" dimension, "I really want someone to be with me" to lower the scores most, indicating that the case can effectively eliminate loneliness after participating in the 8 weeks ballroom dancing course. 3. From the observation of the ballroom dancing course, the social interaction of the participants is gradually increased through the cooperation of dance steps, music and members, and the participants can cooperate with the partners to complete the dance code. 4. In the process of performing the dance of the couple dances, the case can be found from the fluency of physical movements, dance steps and music. The cooperation and tacit understanding with the partners gradually increase with time and practice. In the same dance, the physical and mental disabilities The interest in couple dance is higher than that of single dance. 5. Design of the course One of the members who are familiar with the dance steps will lead the dance to the front. In addition to increasing the number of exercises, at the same time, they will enhance their sense of accomplishment and self-confidence. Members will smile when they successfully complete the dance steps, and accept the encouragement of teachers and members. Therefore, it can be seen from the observation that in addition to making members challenging, this course design also has the positive effect of enhancing self-confidence. 6.The comprehensive interview shows that the participants are satisfied with the content and quality of the course. The content of the response mainly includes: the ability to resolve loneliness, establish friendly relations with members and enjoy the harmonious atmosphere of the group. The multi-disciplinary assessment of this study shows that this 8 weeks intervention course can improve the social interest and reduce the loneliness of middle-aged people with physical and mental disabilities, and confirm that ballroom dancing can bring positive social interaction and psychological benefits to middle-aged people with physical and mental disabilities. Therefore, it is worthwhile to further recommend relevant units to promote.

In the theoretical part there are approximated ballroom and latin dancing, theory of motives, achievement motivation, causal attributions, emotions and the flow-experience. In the second part are formulated hypotheses and described the methods of work. In the final part of the text there are explicated research data, discussed hypotheses and summarized the results. The full computer output is included in the annexes.

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.

Esta dissertação apresenta como objetivos conhecer e descrever o processo de composição coreográfica de Jomar Mesquita, onde a transposição da Dança de Salão do seu contexto genuíno e social para o contexto cênico constitui a dimensão estruturante do processo criativo. A obra de Jomar Mesquita pode ser vista principalmente através das apresentações da Mimulus Companhia de Dança (MCD), a qual ele dirige, por isso a pesquisadora foi a Belo Horizonte/Minas Gerais – Brasil, onde a companhia funciona, realizar a pesquisa de campo. Esta pesquisa apresenta-se como um estudo de caso cuja metodologia é de natureza qualitativa. Foram usados como instrumentos desta pesquisa a observação não-participante da rotina diária do estabelecimento onde funcionam a Mimulus Companhia de Dança, a Mimulus Escola de Dança e a Associação Cultural Mimulus; entrevistas semiestruturadas a integrantes da Mimulus Companhia de Dança e dois funcionários da Mimulus Escola de Dança; questionários a alunos da Mimulus Escola de Dança; e fontes documentais acerca da Mimulus Companhia de Dança. Esta pesquisa demonstrou que o processo de composição coreográfica em Jomar Mesquita caracteriza-se principalmente pelas desconstruções dos passos e figuras padronizados da Dança de Salão, assim como das representações e conceitos incutidos nessa dança. Caracteriza-se ainda pela participação dos bailarinos tanto nos processos vivenciados pela MCD, quanto nos processos vivenciados em outras companhias de dança.
This research has as its objective to know and to describe Jomar Mesquita's choreographic process, according to him the transposition of Ballroom Dancing from its genuine and social context to the scenic context is the structural dimension of the creative process. The work of Jomar Mesquita can be seen mainly through presentations of Mimulus Dance Company, which he directs, that is the reason why I have gone to Belo Horizonte/Minas Gerais – Brasil, where the company operates to conduct the field research. This research is presented as a case study whose methodology is qualitative. The research instruments of this study was the non-participant observation of the daily routine of the establishment where the Mimulus Dance Company, Mimulus Dance School and the Cultural Association Mimulus works; semi-structured interviews to members of Mimulus Dance Company and two employees of Mimulus Dance School; questionnaires to students of Mimulus Dance School; and documentary sources about the Mimulus Dance Company. This research has shown that Jomar Mesquita's choreographic process is characterized mainly by deconstructions of steps and standardized figures of Ballroom Dancing, as well as the representations and concepts instilled in this dance. It is characterized also by the participation of dancers both in the processes experienced by the Mimulus Dance Company, as in the processes experienced by other dance companies.

Thesis deals with the theme of ballroom dancing in Prague bourgeoisie society in the 2nd half of the 19th century. The theme is situated in social and historical context and contemporary political situation. The second part is dedicated to prague associations, Sokol of Prague and sokol festivities. That part of the text proceeds from analysis of the articles and contributions of the journal Sokol (from years 1871-1895). The following chapter about ballroom dancing tries to focus on the types of free time activities which are connected with dancing in the milieu of Prague Czech-speaking society in the 2nd half of the 19th century. It also characterises favourite ballroom dances at that time in the context of social and cultural life. One of the last chapters is dedicated to the relationship of a significant public figure of that time, Jan Neruda, with ballroom dancing. These passages are based on selected examples of Neruda's texts, adopted mostly from Národní Listy. The main intention of the extracts is to complete the picture of ballroom dancing with personal reflection of Neruda as a great dancer, expert on literature and artist. Key words: 2nd half of the 19th century, Prague, czech society, ballroom dancing, associations, national festivities, thematic carnival ("šibřinky").

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.