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Bock, Sheila Marie. "From harem fantasy to female empowerment : rhetorical strategies and dynamics of style in American belly dance /." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144685165.
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Polynone, Devon, and Devon Polynone. "An American Belly Dancer." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12387.
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The purpose of this research was to investigate the creative process of six professional American Belly Dancers: Shannon Conklin, Elena Villa, Lila McDaniel, TC Skinner, Manny Garcia, and Cera Byer. I took a class with each dancer, witnessed each dancer creating movement, and witnessed each dancer perform. After each experience I held discussions with each dancer. I learned that, for some of the dancers, music is everything, but for others, Belly Dance can be performed to any sound. For some of the dancers, Belly Dance is highly codified, and for others it is experimental. For some of the dancers, Belly Dance is a solo endeavor, but for others, dancing with a troupe is essential. Following these findings, I created six movement explorations - one based on each professional Belly Dancer in my study. Supplemental video footage of these explorations can be viewed as a companion to this written document.
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Cooper, Siouxsie. "Walk like an Egyptian : Belly Dance past and present practice in England." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3361.
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How Belly Dance practitioners in England construct a sense of self-identity, social-identity and identity-in-practice in a border-crossing Belly Dance ethnoscape is of interest for this research project. What kinds of identities-in-practice do Belly Dancers in England construct in order to authenticate their performance? By applying social theories of education and identity formation, in particular Holland et al’s “figured worlds” (2001), it is possible to critically frame the development of a practitioner’s Belly Dance identity over a period of time. The research presents the case that Belly Dance in England has an identifiable past and present practice, one that continually wrestles with ownership of what is apparently a Middle Eastern cultural export. Drawing from a literature based case study of two pioneering artists in the early 1980s, Hilal and Buonaventura, the research describes a distinctive English Belly Dance tradition and identities. There is an explanation of how the English Belly Dance form has since competed on the global stage. The research also describes how current inheritors of that tradition −Anne White, Caroline Afifi and Siouxsie Cooper are taken as case studies− appropriate and signal Egyptian Belly Dance as the dominant reference point from which to authenticate their dancing practice; whilst at the same time subverting the Orientalist paradigm underpinning the Belly Dance trope. Identifying “narratives of authenticity” enable the current generations of English Belly Dancers to form distinctive Belly Dancing identities-in-practice. Drawing from both social theories of education and identity formation and reflexive ethnographic modes of inquiry, Walk like an Egyptian examines Belly Dance in England as a translocated dance form, and the mechanisms which allow its authenticity are analysed. In answer to the research question it is possible for an English practitioner of Belly Dance to produce an authentic Belly Dance performance through the production of various narratives of authenticity, narratives which both borrow from and resist pre-existing narratives of authenticity.
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Kelly, Brigid Maria. "Belly dancing in New Zealand: identity, hybridity, transculture." Thesis, University of Canterbury. School of Culture, Literature and Society, 2008. http://hdl.handle.net/10092/2536.
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This thesis explores ways in which some New Zealanders draw on and negotiate both belly dancing and local cultural norms to construct multiple local and global identities. Drawing upon discourse analysis, post-structuralist and post-colonial theory, it argues that belly dancing outside its cultures of origin has become globalised, with its own synthetic culture arising from complex networks of activities, objects and texts focused around the act of belly dancing. This is demonstrated through analysis of New Zealand newspaper accounts, interviews, focus group discussion, the Oasis Dance Camp belly dance event in Tongariro and the work of fusion belly dance troupe Kiwi Iwi in Christchurch. Bringing New Zealand into the field of belly dance study can offer deeper insights into the processes of globalisation and hybridity, and offers possibilities for examination of the variety of ways in which belly dance is practiced around the world.
The thesis fills a gap in the literature about ‘Western’ understandings and uses of the dance, which has thus far heavily emphasised the United States and notions of performing as an ‘exotic Other’. It also shifts away from a sole focus on representation to analyse participants’ experiences of belly dance as dance, rather than only as performative play. The talk of the belly dancers involved in this research demonstrates the complex and contradictory ways in which they articulate ideas about New Zealand identities and cultural conventions. Some of their reflections on belly dancing appear to reflect consciousness of and dis-ease around issues of indigeneity and multiculturalism in wider New Zealand society. Participants in this study also talk about how they explore and perform ideas about femininity, which includes both acceptance and rejection of belly dancing as innately feminine. Looking at New Zealand identities through belly dance, and vice-versa, highlights developing, nuanced and multiple articulations of self and other in a globalised world.
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Hooi, Mavis. "Oriental Fantasy : A postcolonial discourse analysis of Western belly dancers’ imaginations of Egypt and dance festivals in Egypt." Thesis, Linköpings universitet, Avdelningen för historie-, turism- och medievetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-125565.
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Belly dance is popularly practised in the West, and every year, thousands of enthusiasts and professionals from around the world travel to attend belly dance festivals in Egypt, which is considered the cultural centre of the dance. This bachelor’s thesis examines the discourses produced by Western or ʽwhiteʼ belly dancers from Sweden and Finland, on the topics of tourism in Egypt and belly dance festivals in Egypt. The texts are analysed using James Paul Gee's discourse analytical framework, combined with postcolonial theory, complemented with an intersectional approach. From the postcolonial and feminist perspectives, belly dance discourse in the West and tourism discourse are problematic, as they perpetuate Orientalist tropes and unequal global power structures, which build on colonial discourse. It is hoped that by identifying and questioning these aspects of discourse that are problematic in terms of equity, this study will make a small contribution towards mitigating its adverse effects, and towards social change.ORCID for Mavis Hooi : 0000-0002-0049-1095
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Strohschein, Heather. "Between modern dance and intercultural performance the multiple truths of the Bird Belly Princess /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1182295842.
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Haynes-Clark, Jennifer Lynn. "American Belly Dance and the Invention of the New Exotic: Orientalism, Feminism, and Popular Culture." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/20.
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Belly dance classes have become increasingly popular in recent decades in the United States. Many of the predominantly white, middle-class American women who belly dance proclaim that it is a source of feminist identity and empowerment that brings deeper meaning to their lives. American practitioners of this art form commonly explain that it originated from ritual-based dances of ancient Middle Eastern cultures and regard their participation as a link in a continuous lineage of female dancers. In contrast to the stigmatization and marginalization of public dance performers in the Middle East today, the favorable meaning that American dancers attribute to belly dance may indicate an imagined history of this dance. Based on ethnographic fieldwork conducted on the West Coast of the United States and Morocco in 2008-2009, I explore American belly dance utilizing theoretical contributions from feminism, Foucauldian discourse analysis, and postmodernism. I argue that an anthropological investigation of American belly dance reveals that its imagery and concepts draw from a larger discourse of Orientalism, connected to a colonial legacy that defines West against East, a process of othering that continues to inform global politics and perpetuates cultural imperialism. But the creative identity construction that American women explore through belly dance is a multi-layered and complex process. I disrupt the binary assumptions of Orientalist thinking, highlighting the heterogeneity and dynamic quality of this dance community and exploring emergent types of American belly dance. Rather than pretending to be the exotic Other, American belly dancers are inventing a new exotic Self. This cultural anthropological study contributes to a greater understanding of identity and society by demonstrating ways that American belly dancers act as agents, creatively and strategically utilizing discursive motifs to accomplish social and personal goals.
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McDonald, Caitlin. "Belly dance and glocalisation : constructing gender in Egypt and on the global stage." Thesis, University of Exeter, 2010. http://hdl.handle.net/10036/119585.
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This thesis is an ethnography of the global belly dance community with particular reference to the transmission of dance paradigms from Cairo to the international dance community. Key words describing my topic include dance, gender, performance, group dynamics, social norms and resistance, public vs. private, tourism, and globalisation. I hypothesize that social dancing is used in many parts of the world as a space outside ordinary life in which to demonstrate compliance with or to challenge prevailing social paradigms. The examination of dance as a globalised unit of cultural capital is an emerging field. With this in mind I investigate the way this dance is employed in professional, semi-professional, and non-professional settings in Egypt and in other parts of the world, notably North America and Europe. Techniques included interviewing members of the international dance community who engage in dance tourism, travelling from their homes to Egypt or other destinations in order to take dance classes, get costumes, or in other ways seek to have an 'authentic' dance experience. I also explored connections dancers fostered with other members of the dance community both locally and in geographically distant locations by using online blogs, websites, listservs and social networking sites. I conducted the first part of my fieldwork in Cairo following this with fieldwork in belly dance communities in the United States and Britain.
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Strohschein, Heather Anne. "Between Modern Dance and Intercultural Performance: The Multiple Truths of the Bird Belly Princess." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1182295842.
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Högström, Karin. "Orientalisk dans i Stockholm : Femininiteter, möjligheter och begränsningar." Doctoral thesis, Stockholms universitet, Institutionen för etnologi, religionshistoria och genusstudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-37755.
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The aim of the dissertation is to describe and analyze the practice and meaning of Middle Eastern dance through the study of a number of performers in Stockholm. In particular, this study emphasises the ways in which the performers seek, create and defend values such as femininity, authenticity, empowerment and respectability in and through their dancing. Data for this study consists of field notes from participant observation in dance classes, festivals and gatherings; in-depth interviews and written material, such as leaflets and Internet material. Field notes from a trip to Lebanon with a group of Swedish dancers are also included. The performance of Middle Eastern dance in Stockholm may be seen as a way for Swedish women to find new femininities. They strive to combine a glamorous hyper-femininity with strength and respectability. This is a difficult task. The dancers constantly have to maintain a balance. While enjoying the hyper-femininity of oriental dance they must avoid being too sexy and thereby running the risk of being reduced to the position of sexual objects. To avoid losing control of the situation performing in public the dancers use different tactics. Many try to make the performance a clearly bounded event and make distinctions between themselves as individuals and the personas they embody on stage. This gives the performers a chance to playfully embody hyper-femininity. Other dancers have changed the dance itself, removing all movements and costumes that could be perceived as sexually inviting or aiming to please.
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Boldrin, Beatrice. "La danse orientale entre stéréotypes et symboles : enjeux de "féminités contemporaines"." Thesis, Paris 5, 2014. http://www.theses.fr/2014PA05H018.
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Dans cette étude, nous analysons les évolutions des modèles contemporains de féminité dans le cadre des débats sur l’identité de genre à travers l’étude de la danse orientale. Nous envisageons la danse orientale à la fois comme un terrain de confrontation, de partage et d’hybridation de différentes conceptions et vécus du corps et comme une possibilité d’exploration empirique et conceptuelle de différentes identités de genre, culturelles et esthétiques. Ce sujet d’étude nous permet de réfléchir sur l’imaginaire du ventre féminin comme symbole genré, depuis les Orientalistes jusqu’à la pratique d’aujourd’hui dans les cours de danse parisiens. Le corps dansant et ses ressentis ont été traités comme les moyens expressifs à partir desquels structurer notre réflexion incarnée sur le féminin. Une enquête de terrain dans le milieu des cours de danse parisiens actuels nous a permis d’analyser les formes de partage culturel qui s’y produisent. Cela a mis en lumière les changements que la pratique de cette danse produit dans les relations des femmes à leur intimité physique et sexuée et les influences occidentales des hybridations multiples de cette danse avec d’autres styles de danse. Dans le milieu de cours de danse orientale, les femmes qui la pratiquent sont amenées à expérimenter dans des espaces clos et exclusivement féminins la stratification de conceptions traditionnelles du corps et de différents systèmes philosophiques et esthétiques. La danse orientale modifie-t-elle donc en Occident les catégories et les formes du corps désirable ? Qu’est-ce que les femmes recherchent dans cette pratique aujourd’hui ?This study traces the evolution of contemporary models of femininity in virtue of the mindset and self-perception of contemporary French women. My work focuses on the practice of oriental dance with respect to the question of gender identity. I intend to look at oriental dance as the catalyst of cultural confrontation and hybridization of Eastern and Western concepts of the body. Because this dance is primarily designed for women, I consider it an empirical vehicle for exploring issues of gender identity (notions of what is female, feminine, and femininity) through the investigation of the belly and the pelvis. Incorporating a qualitative survey among women practicing oriental dance today in Paris, my work seeks to understand how this dance influences the relationship a women has with her body and intimate self as well as how the Western outlook has altered and influenced oriental dance. What do contemporary dancing bodies in Paris share between themselves in the practice of this dance? How does oriental dance influence or become altered by the predominant dance forms in French culture? How do these different aesthetic concepts of the female body influence each other through Oriental dance, and how does this dance form modify the idea of what is the desirable female body? What are women searching for through the practice of Oriental dance today?
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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
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Serretti, Amine Nassif Magalhães [UNESP]. "Dança do ventre e feminilidade: análise dos relatos de praticantes." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/135947.
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000858554.pdf: 1068238 bytes, checksum: c401b755262c8aea47658c601ea64d1e (MD5)A dança do ventre está entre as danças primitivas sagradas do contexto mítico-religioso das antigas civilizações do Oriente Médio. Provinda de rituais voltados às divindades femininas, esta dança simboliza a vida, a fertilidade e o crescimento. Investigou-se de que modo a dança, como produção cultural, atua como elemento de comunicação não verbal em diversas dimensões relativas às praticantes. Este estudo poderá contribuir para ampliar a compreensão sobre a crescente expansão de festivais, procura por aulas e materiais midiáticos da área considerando-se a falta de estudos quantitativos acerca do tema. O objetivo principal deste estudo foi investigar de que modo a dança interfere e transforma quantitativa e qualitativamente a visão que a mulher tem de si mesma e de suas relações. A amostra foi composta por 100 participantes do sexo feminino, praticantes há pelo menos um ano de dança do ventre, de 5 escolas de dança diferentes de duas cidades distintas do interior de São Paulo, cujas idades estavam entre 20 e 65 anos. A coleta de dados realizou-se através de dois instrumentos: a Escala de Autoestima de Rosenberg (EAR) e um questionário contendo perguntas abertase fechadas, com escalas quantitativas. Diante da análsie das questões fechadas de intensidade e frequência, os itens feminilidade e alegria ao dançar foram os que tiveram a maior média e o menor valor de desvio padrão de respostas. Já a menor média obtida foi o sentimento de erotismo ao dançar, contrariando as crenças sociais. Quanto às correlações feitas entre autoestima e as outras variáveis, obtivemos resultados significativos em: frequência com que dança sozinha, melhor postura física e mudanças nos relacionamentos interpessoais. A mulher, quando dança, aprende a lidar com o próprio corpo, o qual muda dia após dia. Com disciplina e auto-observação dos seus erros e dificuldades, a mulher torna-se mais autoconfiante, pois passa...
Belly dancing is among the primitive sacred dances in a mythical-religious context of acient Middle East civilizations. Arising from rituals geared to female divinities, this dance symbolizes life, fertility and growth. We investigated how the dance, as a cultural production, acts as a nonverbal communication element in several dimensions related to the practitioners. This study may contribute to broaden the comprehension of the growing expansion of festivals, demand for lessons and media materials of the area, considering the lack of quantitative studies on the subject. The aim of this study was to investigate how dancing interferes and transforms quantitatively and qualitatively the image that wome have of themselves and of their relationships. The study sample consisted of 100 female participants, practicing belly dance for at least one year, from 5 different dance schools in two distinct cities the countryside of Sâo Paulo State, whose ages varied between 20 and 65 years. Data were collected through two intruments: the Rosenberg Self-Esteem Scale (RSES) and a questionnaire with open and closed questions, with quantitative scales. Analyzing closed questions of intensity and frequency, the items femininity and joy of dancing were the ones with the highest average and the lowest standard deviation among the answers. The lowest average, however, was the feeling of eroticism of dancing, contradicting social beliefs. As for correlations made between self-steem and other variables, we obtained significant results in: how often dance alone, improve physical posture and changes in interpersonal relationships. When a woman dances, she learns how to deal with her body, which changes every day. With discipline and self-observation of her mistakes and difficulties, the woman becomes more confident by getting to know herself more; learns how to deal with her a body and her emotions. From the self-confidence and positive self-concept that...
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Serretti, Amine Nassif Magalhães. "Dança do ventre e feminilidade : análise dos relatos de praticantes /." Bauru, 2015. http://hdl.handle.net/11449/135947.
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Orientador: Sandro CaramaschiBanca: Regina Célia Faganini Lourenço Furigo
Banca: Kester Carrara
Resumo: A dança do ventre está entre as danças primitivas sagradas do contexto mítico-religioso das antigas civilizações do Oriente Médio. Provinda de rituais voltados às divindades femininas, esta dança simboliza a vida, a fertilidade e o crescimento. Investigou-se de que modo a dança, como produção cultural, atua como elemento de comunicação não verbal em diversas dimensões relativas às praticantes. Este estudo poderá contribuir para ampliar a compreensão sobre a crescente expansão de festivais, procura por aulas e materiais midiáticos da área considerando-se a falta de estudos quantitativos acerca do tema. O objetivo principal deste estudo foi investigar de que modo a dança interfere e transforma quantitativa e qualitativamente a visão que a mulher tem de si mesma e de suas relações. A amostra foi composta por 100 participantes do sexo feminino, praticantes há pelo menos um ano de dança do ventre, de 5 escolas de dança diferentes de duas cidades distintas do interior de São Paulo, cujas idades estavam entre 20 e 65 anos. A coleta de dados realizou-se através de dois instrumentos: a Escala de Autoestima de Rosenberg (EAR) e um questionário contendo perguntas abertase fechadas, com escalas quantitativas. Diante da análsie das questões fechadas de intensidade e frequência, os itens "feminilidade" e "alegria ao dançar" foram os que tiveram a maior média e o menor valor de desvio padrão de respostas. Já a menor média obtida foi o sentimento de "erotismo ao dançar", contrariando as crenças sociais. Quanto às correlações feitas entre autoestima e as outras variáveis, obtivemos resultados significativos em: frequência com que dança sozinha, melhor postura física e mudanças nos relacionamentos interpessoais. A mulher, quando dança, aprende a lidar com o próprio corpo, o qual muda dia após dia. Com disciplina e auto-observação dos seus erros e dificuldades, a mulher torna-se mais autoconfiante, pois passa...
Abstract: Belly dancing is among the primitive sacred dances in a mythical-religious context of acient Middle East civilizations. Arising from rituals geared to female divinities, this dance symbolizes life, fertility and growth. We investigated how the dance, as a cultural production, acts as a nonverbal communication element in several dimensions related to the practitioners. This study may contribute to broaden the comprehension of the growing expansion of festivals, demand for lessons and media materials of the area, considering the lack of quantitative studies on the subject. The aim of this study was to investigate how dancing interferes and transforms quantitatively and qualitatively the image that wome have of themselves and of their relationships. The study sample consisted of 100 female participants, practicing belly dance for at least one year, from 5 different dance schools in two distinct cities the countryside of Sâo Paulo State, whose ages varied between 20 and 65 years. Data were collected through two intruments: the Rosenberg Self-Esteem Scale (RSES) and a questionnaire with open and closed questions, with quantitative scales. Analyzing closed questions of intensity and frequency, the items "femininity" and "joy of dancing" were the ones with the highest average and the lowest standard deviation among the answers. The lowest average, however, was the feeling of "eroticism of dancing", contradicting social beliefs. As for correlations made between self-steem and other variables, we obtained significant results in: how often dance alone, improve physical posture and changes in interpersonal relationships. When a woman dances, she learns how to deal with her body, which changes every day. With discipline and self-observation of her mistakes and difficulties, the woman becomes more confident by getting to know herself more; learns how to deal with her a body and her emotions. From the self-confidence and positive self-concept that...
Mestre
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Silva, Rafaella Brito e. "Um estudo de acompanhamento da vivência da dança do ventre como recurso terapêutico com mulheres mastectomizadas." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/15463.
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Previous issue date: 2015-12-15This thesis, which is the result of a personal and professional experience with dancing, as well as of an interest in studies and initiatives in the field of Psycho-oncology, consisted of a follow-up research study based on the theoretical framework of Gestalt Therapy. The aim of the study was to investigate how mastectomized women who underwent a group corporeal intervention, with belly dancing as a therapeutic means, perceived themselves in their corporeality three years after their experience. The importance of this study is related to the need to expand therapeutic strategies for health promotion during the breast cancer post-treatment of mastectomized women. It comprises a qualitative survey in which follow-up interviews were conducted in groups and individually. The analysis and discussion were based on the collaborators' reports, by employing the phenomenological method. It was possible to identify that belly dancing played an important role in copying with the disease and also in the participants' lives. Belly dancing helped to mobilize resources in order to deal with the changes resulting from the treatment, as well as changes in the maturing process. The dance, the music and the movement were perceptible as a trigger for the promotion of contact with femininity and sensuality in a pleasant and ludic way. The therapeutic group was significantly important as an outer support, providing a welcoming space for experiencing the body and for the exchange of experiences. It can be concluded that belly dancing is a potential therapeutic tool in the rehabilitation of mastectomized women in the long term too
Esta tese, fruto de uma experiência pessoal e profissional com dança e do interesse por estudos e ações na área da Psico-Oncologia, consistiu em uma pesquisa de acompanhamento baseada no referencial teórico da Gestalt-Terapia. O objetivo foi investigar como, mulheres mastectomizadas que passaram por uma intervenção corporal grupal com a dança do ventre como recurso terapêutico, se percebem na sua corporeidade três anos após a vivência. A importância desse estudo está relacionada à necessidade de ampliação de estratégias terapêuticas voltadas para a promoção da saúde no póstratamento do câncer de mama de mulheres que foram mastectomizadas. Trata-se de uma pesquisa qualitativa na qual foram realizadas entrevistas de acompanhamento em grupo e individuais. A análise e discussão foram feitas com base no discurso das colaboradoras, pautada no método fenomenológico. Foi possível identificar que a dança do ventre teve um papel importante no enfrentamento da doença e posteriormente na vida das participantes. A dança ajudou a mobilizar recursos para lidar com as mudanças decorrente do tratamento, assim como com as mudanças no processo de amadurecimento. Pudemos perceber a dança, a música e o movimento como um estopim que promove contato com a feminilidade e sensualidade de forma prazerosa e lúdica. O grupo terapêutico foi bastante importante no papel de heterossuporte, propiciando um espaço acolhedor para a vivência do corpo e troca de experiências. Pode-se concluir que a dança do ventre é um possível recurso terapêutico na reabilitação de mulheres mastectomizadas também a longo prazo
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Moraes, Soares Andréa Cristiane. "Raqs el Jaci / Dança de Jaci : hibridação por antropofagia entre a dança do ventre e a poética de Eva Schul." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/100157.
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A partir da perspectiva de uma pesquisa em arte sob o viés autoetnográfico, este memorial propõe uma análise reflexiva do processo de composição de uma coreografia de dança do ventre hibridizada à poética da coreógrafa Eva Schul. Desse modo, tem-se por objetivo compreender como a dança do ventre pode ser matriz de movimento para uma composição contemporânea em dança. Os estudos em "World Dance" (FOSTER, 2009; SHAY, SELLERS-YOUNG, 2003; 2005) e a perspectiva pós-colonialista de autores como Edward Said (2007) e Homi Bhabha (2010) forneceram referencial teórico para propor uma abordagem não eurocêntrica da dança do ventre, a qual postula que todas as danças são potentes artisticamente, independente de sua origem. Imersa na prática das aulas de dança contemporânea de Eva Schul, conhecendo sua poética, vivenciando sua técnica e inspirada pela antropofagia (ANDRADE, 1924; 1928, DANTAS 2008), a pesquisadora encontrou o caminho para alcançar a hibridação desejada (CANCLINI, 2011; LOUPPE, 2012). A poética de Eva Schul permitiu inserir conceito e reflexão na coreografia e relacionar os movimentos clássicos da dança oriental a procedimentos de composição em dança contemporânea. A criação coreográfica apresentada buscou problematizar o orientalismo que vê a dança do ventre de forma imutável através do tempo. Neste estudo compreendeu-se que, para inserir a dança do ventre em uma perspectiva contemporânea, é preciso subverter a visão orientalista associada a esta dança e refletir sobre a ambiguidade da bailarina de dança do ventre a qual, se por um lado, é mostrada como um ser exótico para apreciação, por outro lado é muitas vezes limitada a um objeto sensual passivo.From the perspective of a research in art by the auto-ethnographic view, this memorial proposes an reflexive analise of the composition process of a hybridized belly dance choreography with the poetic of the choreographer Eva Schul . By this way, it seeks to understand how can belly dancing be movement matrix for a contemporary dance composition. Studies in "World Dance" (FOSTER, 2009; SHAY; SELLERS - YOUNG, 2003; 2005) and the post colonial perspective of authors like Edward Said (2007) and Homi Bhabha (2010), provided a theoretical framework to propose a non-eurocentric approach to belly dance, from which all dances are artistically potent regardless of their origin. Immersed in the classes of Eva Schul, learning her poetic, experiencing her technique and inspired by anthropophagy (ANDRADE, 1924 1928; DANTAS, 2008), the researcher found the way to achieve the desired hybridization. (CANCLINI, 2011; LOUPPE, 2012) The poetic from Eva Schul allowed to insert into the composition concept, reflection and to connect the classical movements of oriental dance to a compositional procedures of contemporary dance. The choreography presented sought to problematize the orientalism that sees belly dance as an immutable form throughout the times. In this study it was understood that to place belly dance in a contemporary perspective, it is necessary to subvert the orientalist vision associated with this dance and reflect on the ambiguity of the belly dancer who, if on one hand, is shown as an exotic being to be appreciated, on the other is often viewed only as a passive sensual object.
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Assunção, Naiara Müssnich Rotta Gomes de. "Entre Ghawazee, Awalim e Khawals : viajantes inglesas da Era Vitoriana e a “Dança do Ventre”." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/182762.
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O presente trabalho trata da percepção ocidental em relação à dança oriental a partir de relatos de seis viajantes inglesas que estiveram no Egito entre os anos de 1842 e 1876, período que abrange a dominação imperialista europeia no Oriente Médio. Têm-se como referenciais teóricos o conceito de “Orientalismo”, cunhado por Edward Said, e a crítica posterior realizada por feministas pós-coloniais e decoloniais. Assim, analiso estes relatos a partir de uma perspectiva interseccional, considerando-se os recortes de gênero, raça e classe que influenciaram as representações tecidas por mulheres europeias sobre homens e, sobretudo, mulheres egípcias. Examino de que modo estas representações impactaram tanto nas identidades inglesas quanto egípcias e de que maneira elas transformaram a dança que era praticada no Egito e que, a partir do contato dado no contexto colonial, se transnascionalizou e hoje é percebida como “Dança do Ventre” (em português), “Bellydance” (em inglês), “Danse du Ventre” (em francês) e “Raqs Sharqi” (em árabe).This research investigates the Western perception of Eastern dance based on the study of the accounts of six British women who traveled to Egypt between 1842 and 1876, a period that encompasses European imperialist domination in the Middle East. The theoretical references include the concept of "Orientalism", coined by Edward Said, and the subsequent criticism by postcolonial and decolonial feminists. Thus, I analyze these reports from an intersectional perspective, considering the categories of gender, race and class that influenced the representations made by European women about men and, above all, Egyptian women. I examine how these representations impacted both English and Egyptian identities and how they transformed the dance that was practiced in Egypt, which, from the contact given in the colonial context, became transnational and is now perceived as “Dança do Ventre” (in Portuguese) “Bellydance” (in English), “Danse du Ventre” (in French) and “Raqs Sharqi” (in Arabic).
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Mignac, Márcia Virgínia dos Reis. "A subversão da sujeição: a ação política da dança do ventre em adolescentes sujeitadas e em instituições." Escola de Dança, 2008. http://repositorio.ufba.br/ri/handle/ri/27529.
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Esta dissertação apresenta a dança do ventre como uma ação política trabalhada em três eixos: corpos-sujeitos, corpos-instituições e na oficialização da dança nos espaços institucionais. Para tanto, defende a hipótese de que a dança do ventre é uma ação subvertedora e propositora de reorganizações corporais, uma vez que atua no mesmo ambiente de ocorrência da sujeição. Para entender o corpo que dança na situação do abuso sexual, o estudo apresenta a implementação da dança do ventre em instituições especializadas da cidade de Salvador-Ba. O objetivo é analisar criticamente os encaminhamentos de dança desenvolvidos nessas instituições, de forma experimental, nos anos 2004 e 2005. Para isso, através de leituras e análises sistemáticas, foi selecionado um recorte teórico concernente às relações estabelecidas entre dança, dança do ventre, corpo, poder e sujeição. Destacam-se autores como Katz e Greiner, Lakoff & Jonhson em diálogo com as obras de Foucault, e autores das ciências políticas como Pélbart, Butler e Agamben. A abordagem metodológica se dá via procedimentos e etapas de investigação, através da aplicação de entrevistas semi-estruturadas; da análise dos dados coletados nas experiências corporais; da análise crítica dos experimentos propostos e da articulação com as instituições receptoras. Desse empreendimento, a dissertação propõe-se ainda a discutir o lugar do corpo e do corpo que dança em espaços institucionais que adotam procedimentos da natureza no trabalho com adolescentes sujeitadas pelo abuso sexual. A observação das relações e implicações filosóficas-políticas dos corpos-sujeitos e dos corpos-instituições envolvidos na discussão do abuso sexual serve ao propósito de indicar possíveis devoluções às instituições, entendidas na etapa final do estudo como proposições, ao invés de conclusões finais. O estudo prestou-se ainda à tarefa de propor a oficialização da dança no protocolo de serviços das instituições analisadas.
This dissertation presents belly dance as a political action, worked in three areas: body-fellows, body-institutions and officialize dance in institutional spaces. To do so, it defends the hypothesis that belly dance is a subversive and deliberated action of corporal reorganization, because it acts in the same environment where the subjection occurs. In order to understand the body that dances in a context of sexual abuse, the research presents the study of the establishment of belly dance in specialized institutions in Salvador – Bahia. Its aim is to analyze critically the course of developed dances in those institutions in an experimental way through years of 2004 e 2005. To this, through readings and systematic analyses, a theoretical border was selected, linked to the relations established between dance, belly dance, body, power and subjection. Authors like Kaltz and Greiner, Lakoff and Johnson were highlighted in a dialog with Foucault’s works and authors from political science, like Pelbart, Butler and Agamben. The methodological approach is made through procedures and investigation steps, in the application of semi-structured interviews; in data’s analyses collected in corporal experiences, in the critical analysis of the proposed experiments and the articulations with these receptive institutions. More, this dissertation proposes to discuss the place of the body and the body that dances in institutional spaces that adopt such procedures in their labor with subjected teenagers by sexual abuse. The observation of the relations and philosophical and political implications of the body-fellows and body-institutions involved in the discussion of sexual abuse are important to indicate return to those institutions, understood in the final phase of this study as propositions, in opposition to final conclusions. The research proposed, also, the duty of suggesting to officialize the dance in the protocol of services offered in the analyzed institutions.
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GELETKANICZ, Marice Fiuza. "Dança do ventre: uma perspectiva dialógica." Universidade Catolica de Pelotas, 2017. http://tede.ucpel.edu.br:8080/jspui/handle/jspui/723.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES#
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As one knows, ―the studies by Bakhtin and the Circle constitute contributions for a theory of language in general and not only for a theory of verbal language, be it oral or written‖ (BRAIT, 2013). So, this work proposes a relation between dance as concrete acts and enunciative projects inspired by Bakhtinian architectonic foundations. The visual nature of this enunciation distinguishes it discursively and gives it an aesthetic status requiring other readings. For talking about visual architectonics, we need, as a starting point, to identify what constitutes the content, the material and the form in dance / dancing. For doing this, this study proposes an analysis of 4 choreographies of belly dance, available in video in the Internet. The work examines aspects related to the ways dancers construct their dance and, by means of social evaluations, reveal and / or denounce enunciative marks. Thus, from the notion of content, one researched how ideological / evaluative factors are implicated in the relation between dancer-creator and dancer-character such as represented in the analysed dances; from the notion of compositional form, we examine for whom dances the body of these dancers on the basis of enunciative marks used for engaging their potential addressee; from the notion of material, we examined what each performance presents as specific in significance and sense. This methodological path enables us to make visible dialogism in visual utterances, to show that distinct voices resound in belly dance is time-space, discarding thus the possibility of talking about a supposed ―belly dance‘s essence‖ inciting, consequently, the suggestion of it being, in these terms, a hybridization. This made us perceive what constitutes dialogical relations in dance and the way they happen therein, allowing us to reach the peculiarities that here interest as another possibility for understanding dance as an aesthetic object and to contribute to Bakthinian studies of visual discourse.
É fato que ―os estudos de Bakhtin e do Círculo constituem contribuições para uma teoria da linguagem em geral e não somente para uma teoria da linguagem verbal, quer oral ou escrita‖ (BRAIT, 2013). Assim, este trabalho propõe uma relação entre dança como ato concreto e projeto enunciativo inspirada pela diretriz arquitetônica bakhtiniana. A natureza visual dessa enunciação a distingue discursivamente e lhe confere seu status estético, requerendo formas outras de leitura. A fim de que se possa falar de uma arquitetônica visual, como ponto de partida, busca-se identificar o que constitui o conteúdo, o material e a forma na dança/no dançar. Para tanto, este estudo propõe a análise de quatro coreografias de dança do ventre, disponíveis em vídeo, via internet. Trata-se, pois, de enfocar aspectos relacionados ao modo como as bailarinas constroem a sua dança e, mediante valorações sociais, revelam e/ou denunciam marcas enunciativas. Portanto, a partir da noção de conteúdo, investiga-se como o aspecto ideológico/valorativo é representado pelas bailarinas-criadoras; a partir da noção de forma composicional, investiga-se para quem elas dançam com base nas marcas enunciativas visuais mobilizadas para envolver seu interlocutor presumido em dado contexto; a partir da noção de forma arquitetônica, investiga-se o que cada uma das apresentações traz como especificidades em termos de significação e sentido. Tal percurso metodológico possibilita evidenciar o dialogismo através do visual, mostrar que diferentes vozes ressoam na dança do ventre através do tempo-espaço, o que ratifica a inviabilidade de se falar de uma ―essência da dança do ventre‖, instigando, consequentemente, a reflexão acerca do que não seria, nesses termos, uma hibridação. Isso conduz à percepção a respeito do que constitui as relações dialógicas na dança e da forma como nela elas se dão, viabilizando chegar às peculiaridades que aqui interessam como uma possibilidade outra de compreender o objeto estético dança e contribuir para os estudos bakhtinianos do visual.
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Martins, Silvia Xavier da Costa. "Ciclos em dança: O (re) encontro com a espiritualidade e a feminilidade no processo arteterapêutico." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8384.
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This article aims to comprehend the importance of the spirituality on the Art Therapy practice under the Jungian perspective. With the analytical Jungian Psychology as the central theoretical foundation, this present research, which happened from June to September, 2014 shows an experience report involving spirituality and belly dance with the art-therapeutic process. Ten women took part of this research, all of them users of the “Centro de Práticas Integrativas e Complementares em Saúde – Equilíbrio do Ser”, based in João Pessoa – PB, with ages between 37 and 62 years old. Following the methodology for group work in Art Therapy, the belly dance was used as was that enabled the creative process release, facilitating the internal content expression. Supported by the Oral History methodology, the study tried to register the importance of this process into distinct aspects of the collaborative lives, through interviews and special notes. The findings analysis helped to understand the importance of this art-therapeutic work, where the awakening value to the spirituality dimension, the self-knowledge search, the feminine rediscovery and the pleasure of dancing, the self-care and the other´s care were highlighted, improving the participants health and life quality. The results have also showed the spirituality as an important element to the art-therapeutic process, enlarging the therapeutic modality range and enriching the benefits reached, creating, then, new perspectives towards the existential chalenges.
Esta disertación tiene como objetivo principal la comprensión de la relevancia de la espiritualidad en la práctica del Arteterapia Junguiana. Basada en la psicología analítica junguiana como la fundamentación teórica central, esta investigación, realizada en el período de Junio a Septiembre de 2014, presenta un relato de experiencia que une espiritualidad y danza del vientre en el proceso arte terapéutico. Participan de esa investigación diez mujeres usuarias del Centro de Práticas Integrativas e Complementares em Saúde (CPICS) – Equilíbrio do Ser, en João Pessoa – PB, con edades entre 37 y 62 años. Siguiendo la metodología para trabajos en grupo de Arteterapia, la danza del vientre fue utilizada como recurso que posibilitó la liberación del proceso creativo, facilitando la expresión de contenidos internos. Este estudio, apoyado en la metodología de la Historia Oral, buscó también en entrevistas y estudio de campo registrar relatos sobre la importancia de este proceso para distintos aspectos de la vida de las colaboradoras. El análisis de los datos permitió comprender la importancia de este trabajo arte terapéutico, donde fue destacado el valor de lo despertar para la dimensión de la espiritualidad, de la busca del autoconocimiento, de la redescubierta del femenino, del placer de bailar, del cuidar de si y del otro, mejorando la salud y la cualidad de vida de las participantes. Los resultados de esa investigación mostraron la espiritualidad como un importante componente para el proceso arte terapéutico, ampliando el alcance de esa modalidad terapéutica y enriqueciendo los beneficios alcanzados, creando, por fin, nuevas perspectivas frente a los desafíos de la existencia.
Esta dissertação traz como objetivo principal a compreensão da relevância da espiritualidade na prática da Arteterapia de abordagem junguiana. Tendo a psicologia analítica junguiana como fundamentação teórica central, esta pesquisa, realizada no período de Junho a Setembro de 2014, apresenta um relato de experiência que envolve espiritualidade e dança do ventre no processo arteterapêutico. Participaram desta pesquisa dez mulheres usuárias do Centro de Práticas Integrativas e Complementares em Saúde – Equilíbrio do Ser, em João Pessoa – PB, com faixa etária entre 37 e 62 anos de idade. Seguindo a metodologia para trabalhos em grupo de Arteterapia, a dança do ventre foi utilizada como recurso que possibilitou o desbloqueio do processo criativo, facilitando a expressão dos conteúdos internos. Este estudo, apoiado na metodologia da História Oral, buscou em entrevistas e caderno de campo registrar relatos sobre a importância deste processo para distintos aspectos das vidas das colaboras. A análise dos dados permitiu compreender a importância deste trabalho arteterapêutico, onde foi ressaltado o valor do despertar para a dimensão da espiritualidade, da busca do autoconhecimento, da redescoberta do feminino, do prazer de dançar, do cuidar de si e do outro, melhorando a saúde e a qualidade de vida das participantes. Os resultados dessa pesquisa apresentaram ainda a espiritualidade como um importante elemento para o processo arteterapêutico, ampliando a abrangência dessa modalidade terapêutica e enriquecendo os benefícios alcançados, criando, enfim, novas perspectivas diante dos desafios da existência.
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Silva, Rafaella Brito e. "Mulheres mastectomizadas e a vivência da dança do ventre." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/15068.
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Previous issue date: 2011-10-24This thesis, which is the result of a personal and professional experience with dance, as well as of an interest in studies and iniciatives in the field of Psycho-oncology, consisted of a survey based on the theoretical framework of Gestalt therapy and was aimed to understand how mastectomized women experience belly dancing and how it affects the relation to theri own bodies. The relevance of this study is related to the need for expansion of therapeutic strategies focused on health promotion during the breast cancer post-treatment of mastectomized women. It comprises a qualitative research during which 8 sessions took place, 2 times a week for 1 hour and a half each, making use of the movements of belly dance. After each session, the participating women were requested to answer in writing the following questions: How have you experienced belly dancing? How did you feel? . At the outcome of the 8 sessions, a group interview was conducted to the end of discussing and learning the meaning of each woman s experience. The analysis and discussion were developed based on the participants reports, employing the phenomenological method and using theorists in Psychology and Oncology as references, as well as authors working in the dialogue between both domains. It was possible to identify a plethora of contributions of belly dance for the care of mastectomized women: dancing as an instrument of pleasure; the demystification of female identity attached to the breast only; music and movement as a means to be in touch with femininity and sensuality; the development of a more accurate body perception; and belly dancing as a facilitator in the process of reframing and discovering new ways of being and existing, in order to obtain from the participants a more active stance with regard to the ongoing difficulties. It can be concluded that belly dancing is a possible therapeutic approach in the rehabilitation of mastectomized women
Esta dissertação, fruto de uma experiência pessoal e profissional com dança e do interesse por estudos e ações na área da Psico-Oncologia, consistiu em uma pesquisa baseada no referencial teórico da Gestalt-Terapia e teve como objetivo compreender como mulheres mastectomizadas vivenciam a dança do ventre e quais os efeitos dessa vivência na sua relação com o corpo. A importância desse estudo está relacionada à necessidade de ampliação de estratégias terapêuticas voltadas para a promoção da saúde no pós-tratamento do câncer de mama de mulheres que foram mastectomizadas. Tratase de uma pesquisa qualitativa na qual foi realizada uma vivência de 8 sessões, 2 vezes por semana durante 1 hora e meia, com movimentos da dança do ventre. Após cada sessão, solicitou-se, que as colaboradoras respondessem, por escrito, a seguinte pergunta: Como você vivenciou a dança do ventre? O que você sentiu? Ao término da vivência, foi realizada uma entrevista em grupo com a finalidade de discutir e apreender o significado da experiência vivida por cada mulher. A análise e discussão foram feitas com base no discurso das colaboradoras, pautada no método fenomenológico, tendo, como referência, teóricos no âmbito da Psicologia e Oncologia, bem como autores que atuam na interlocução desses dois domínios. Foi possível identificar uma variedade de contribuições da dança do ventre para o cuidado da mulher mastectomizada: a dança como instrumento de prazer; a desmistificação da identidade feminina ligada apenas ao seio; a música e o movimento como facilitadores do contato com a feminilidade e sensualidade; o desenvolvimento de uma percepção corporal mais apurada; e a dança do ventre como facilitadora no processo de ressignificação e descobertas de novas possibilidades de ser e existir, de modo a obter-se uma postura mais ativa diante das dificuldades enfrentadas. Pode-se concluir que a dança do ventre é um possível recurso terapêutico na reabilitação de mulheres mastectomizadas
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Oliveira, Eugênia Squeff de. "Dança do Ventre: técnica, expressão e significados. Uma etnografia nas Escolas de dança em Pelotas/RS." Universidade Federal de Pelotas, 2011. http://repositorio.ufpel.edu.br/handle/ri/1555.
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Previous issue date: 2011-05-24Belly dancing is understood as art and tradition of the Arabian culture, but practiced beyond it s places of origin. Among its adepts are people from varied ethnic groups and cultures. In this study we investigate the meanings of belly dancing among teachers and students of dancing schools in the city of Pelotas (Brazil) which offer the practice, as well as the meanings shared by the public which appreciates the dance. Comprehension was sought, through observation of the practices and the by the capture of meanings present in the social imaginary, of how this dance is being represented in the pelotense society, how this art s transmission, its transformation and itsadaptation to various cultures takes place
A Dança do Ventre é entendida como arte e tradição da cultura árabe, mas é praticada também fora de seus locais de origem eapresenta como adeptos pessoas de variadas etnias e culturas. Nessa pesquisa,investigamos os significados da Dança do Ventrepara professoras e alunas das Escolas de Dança da cidade de Pelotas que oferecem a prática, bem como os significados partilhados pelo público apreciador da dança. Buscou-se compreender, a partirde observações das práticas e da captação dos significados presentes no imaginário social, como esta dança está sendo representada na sociedade pelotense ede que forma ocorre a transmissão desta arte, sua transformação e sua adaptação às diversas culturas
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Silva, Sara Jobard Costa e. "Presença cênica: consciência corporal e ativação energética através de uma abordagem somática da dança do ventre para o ator." Escola de Teatro, 2013. http://repositorio.ufba.br/ri/handle/ri/27490.
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Essa pesquisa discute como acontece o fenômeno da presença cênica, a partir de uma irradiação energética no ator quando ele está no palco. O objetivo principal é criar uma prática corporal capaz de manipular essa energia, a partir de um processo de ativação dos chakras, desenvolvido com base em uma abordagem somática da técnica da dança do ventre e investigar sua aplicabilidade na prática teatral. Primeiramente, aborda-se o termo presença cênica e sua utilização nas artes cênicas, principalmente quanto ao trabalho do ator. Em seguida, são discutidos os conceitos de consciência e energia, por compreender presença cênica como um processo psicofísico, que envolve esses dois elementos. A fim de proporcionar ao indivíduo uma percepção maior de si mesmo, aqui denominada de consciência corporal, é proposta a utilização de exercícios de uma das técnicas de Educação Somática – Fundamentos Corporais Bartenieff. Para a etapa de ativação energética, é sugerido exercícios da técnica da dança do ventre. A efetividade dos exercícios propostos é estudada em duas práticas: a preparação corporal, realizada no estágio docente, e a preparação da pesquisadora para o espetáculo teatral Véu Carmim, nos quais foi possível observar melhoras relevantes no desempenho dos atores quanto à presença cênica. Foram constatados resultados significativos para a ativação energética de atores a partir de uma abordagem somática da dança do ventre.
This research discusses how does the phenomenon of actor’s presence happens, from a radiation energy on the actor when he's on stage. The main objective is to create a body practice to manipulate this energy from a process of activating the chakras, developed by a somatic approach of belly dance and investigate its applicability in theatrical practice. First, it is approached the term actor’s presence and his use in the performing arts, particularly in the work of the actor. Then it discusses the concepts of consciousness and energy, to understand actor’s presence as a psychophysical process that involves these two elements. In order to provide the individual a greater sense of self, here called body awareness, it is proposed to use exercises from a technique of Somatic Education - Bartenieff Fundamentals Body. For energy activation is suggested exercises of belly dance. The effectiveness of the proposed exercises is studied in two practices: the body preparation, performed on stage teacher, and the researcher’s preparation for the spectacle Véu Carmim, in which we observed great improvements in the performance of the actors on the actor’s presence. Significant results were found for the energy activation in actors from a somatic approach of belly dance.
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Kougioumtzoglou-Roucher, Eugénia. "Aux origines de la danse classique: : le vocabulaire de la "belle dance" 1661-1701." Paris 13, 1990. http://www.theses.fr/1990PA131028.
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Cette etude se propose dedecrire le vocabulaire de la "belle dance" ancetre de la danse classique et son fonctionnement a l'interieur d'une macro-synchronie de 40 ans allant de 1661 a 1701. Elle contient trois parties. Dans la premiere sont exploites les champs semantiques de "danse", "bal et "ballet" d'ou emergera le nouveau concept de "belle dance". Dans la deuxieme partie, le vocabulaire du mouvement fait l'objet d'une etude descriptive a travers une adaptation de la grille d'analyse semique de b. Pottier. Le mouvement a ete decompose en cinemes, unites cinetiques minimales liees, en meme temps que traits distinctifs qui, combines entre eux, ont forme les choremes, unites cinetiques minimales libres et les chories, unites cinetiques memorisees a l'instar des lexies. La troisieme partie traite plus particulierement des procedures de formation du vocabulaire de la danse en vue de degager les caracteristiques de cet ensemble lexical et determiner s'il appartient aux terminologies ou aux vocabulaires techniques. Les phenomenes les plus importants, emprunt et lexicalisation sont etudies ainsi que la substantivation des adjectifs, la metonymie et la metaphoreThis study goes back to the origins of classical ballet in order to describe the vocabulary or "la belle dance" and the way it functions within a macro-synchrony of 40 years long spreading from 1661 to 1701. The study is divided into three parts. The first part deals with the semantic fields of "bal", "danse", and "ballet" from wich the new concept of "la belle danse" has been developed. The second part proceeds to adescriptive study of the vocabulary of movement, adapted from bernard pottier's semic analysis scale. The movement was broken down into "cinemes" - minimal cinetic units - considered as distinctive features. Once combined among themselves the "cinemes", formed on the one hand the "choremes" or "chories simples" - minimal step units created after the linguistic concept of "lexemes", nominals - and on the other hand the "chories composees ou complexes" - memorized step sequences (after the concept of "lexies composees ou complexes", complex nominals). The third part deals more specialy with the proce- dures or word formation within the dance vocabulary in order to determine the main features of this lexicon and to decide whether it belongs to terminologies or to technical vocabularies. Are also examined in this part the most important procedures such as lexical borrowing, lexicalization (lexical frozeness) as well as nominalization, metonymy and metaphor
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Hernandes, Janete Capel. "Qualidade de vida e imagem corporal de mulheres que praticam dança do ventre." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/9105.
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Introduction:This thesis was elaborated on the basis of scientific articles. It is observed that women have undergone several changes in the social, family and professional fields, and have conquered spaces in society, which has been positive; on the other hand, this has negatively impacted their quality of life and their body image. In this context, belly dancing has been sought as an alternative to this problem. Objective: To analyze the quality of life and body image of women who practice belly dancing. Method: two articles. 1) Systematic review elaborated according to PRISMA (2009), of quantitative studies registered in electronic platforms, identified with the descriptors quality of life, dance and women, in Portuguese, English and Spanish, and published until June 30, 2017, in any local. The mean and standard deviation of the quality of life outcomes were compared, with a significant difference. We used reference management software and bias risk assessment. The article was prepared by two independent reviewers. 2) Cross-sectional study according to STROBE (2008), using a sociodemographic questionnaire, WHOQOL-bref and Body Shape Questionnaire (BSQ), Statistical Analysis of Chi-square, Cronbach's Alpha, Kruskal-Wallis and Spearman correlation, with significance level 5% (p <0.05). Results: 1) Review of nine randomized clinical trials that used four instruments to assess the quality of life of overweight, cancer, fibromyalgia or non-health-related women; age from 20 to 64 years old, practicing belly dancing, zumba, circular dance, and Dance Movement Therapy (DMT) for a period of three to sixteen weeks. Studies analyzed in subgroups, with significance in the results of eight of them, with improvements, mainly in the physical and psychological domains of quality of life, with the intervention of some type of dance for at least eight weeks. 2) A cross-sectional study with 98 women, mean age of 32.8 (± 10.4) years. Among those surveyed, 89.8% had no concern with body image; 7.1% showed mild concern; and 3.1%, moderate concern. The following were found: positive correlation between the preoccupation with body image and BMI (r = 0.52, p <0.01); (r = -0.50, p <0.001) and environmental (r = - 0.35, p = 0.02) in women who practiced dancing for less than one year, and in the social domain (r = - 0.61, p = 0.01), those who practiced dance for six years or more; and positive correlation between the environmental domain (r = 0.29, p = 0.01) and dance time. Conclusions: In the systematic review, it was verified that dance improves the quality of life of adult women in the physical and psychological domains, when practiced at least twice a week, for at least eight weeks. In the cross-sectional study, there was a positive correlation between preoccupation with body image and measures of BMI, and between time of belly dance practice and quality of life; and negative correlation between quality of life and preoccupation with body image.
Introdução: Esta tese foi elaborada com base na modalidade artigos científicos. Observa-se que as mulheres têm passado por várias mudanças nos campos social, familiar e profissional, e conquistado espaços na sociedade, o que tem sido positivo; por outro lado, isso tem impactado negativamente a qualidade de vida e a imagem corporal delas. Neste contexto, a dança do ventre tem sido procurada como alternativa a essa problemática. Objetivo: Analisar a qualidade de vida e a imagem corporal de mulheres que praticam dança do ventre. Método: dois artigos. 1) Revisão sistemática elaborada conforme o PRISMA (2009), de estudos quantitativos registrados em plataformas eletrônicas, identificados com os descritores qualidade de vida, dança e mulheres, em português, inglês e espanhol, e publicados até 30 de junho de 2017, em qualquer local. Comparou-se a média e o desvio padrão dos resultados de qualidade de vida, com diferença significativa. Foram utilizados os softwares de gerenciamento de referências e avaliação do risco de viés. O artigo foi elaborado por dois revisores independentes. 2) Estudo transversal conforme o STROBE (2008), tendo como base: aplicação de questionário sociodemográfico, WHOQOL-bref e Body Shape Questionnaire (BSQ), Análise Estatística de Qui-quadrado, Alfa de Cronbach, Kruskal-Wallis e correlação de Spearman, com nível de significância 5% (p < 0,05). Resultados: 1) Revisão de nove ensaios clínicos randomizados, que utilizaram quatro instrumentos para avaliar a qualidade de vida de mulheres com sobrepeso, câncer, fibromialgia ou que não relataram problemas de saúde; idade de 20 a 64 anos, praticantes de dança do ventre, zumba, dança circular, biodança e Terapia pela Dança Movimento (TDM), por um período de três a dezesseis semanas. Estudos analisados em subgrupos, com significâncias nos resultados de oito deles, com melhorias, principalmente nos domínios físicos e psicológicos de qualidade de vida, com a intervenção de algum tipo de dança por, no mínimo, oito semanas. 2) Estudo transversal com 98 mulheres, idade média de 32,8 (± 10,4) anos. Dentre as pesquisadas, 89,8% não apresentaram preocupação com a imagem corporal; 7,1% demonstraram preocupação leve; e 3,1%, preocupação moderada. Foram constatadas: correlação positiva entre a preocupação com a imagem corporal e o IMC (r = 0,52; p < 0,01); correlação negativa entre a preocupação com a imagem corporal e os domínios psicológico (r = - 0,50; p < 0,001) e ambiental (r = - 0,35; p = 0,02) em mulheres que praticam a dança há menos de um ano, e, no domínio social (r = - 0,61; p = 0,01), entre aquelas que praticam a dança há seis anos ou mais; e correlação positiva entre o domínio ambiental (r = 0,29; p = 0,01) e o tempo de dança. Conclusões: Na revisão sistemática, verificou-se que a dança melhora a qualidade de vida de mulheres adultas nos domínios físicos e psicológicos, quando praticada ao menos duas vezes por semana, por, no mínimo, oito semanas. No estudo transversal, houve correlação positiva entre preocupação com a imagem corporal e medidas do IMC, e entre tempo de prática de dança do ventre e qualidade de vida; e correlação negativa entre qualidade de vida e preocupação com a imagem corporal.
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Kiss, Dóra. "La saisie du mouvement : de l'écriture et de la lecture des sources de la belle danse." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2047.
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La thèse définit ce qui pourrait être une saisie du mouvement et interroge la possibilité d'écrire et de lire la danse. La belle danse, dont l'origine, la contextualisation, et la définition en tant que style sont présentés dans le premier chapitre est prise comme cas d'école. Le second chapitre est rédigé dans la perspective du scripteur et il présente une analyse de la notation Beauchamps-Feuillet. Le troisième chapitre, qui adopte le point de vue du lecteur, définit les règles implicites de la belle danse, déductible de l'analyse des sources, et propose une analyse de la "Türkish Dance" (c.1725), due au chorégraphe Antony L'Abbé et au notateur François le Roussau. La thèse se réfère aux recherches de Guillemette Bolens pour la compréhension de l'usage de l'empathie kinesthésique pour l'écriture et la lecture, comme à des recherches cognitivistes récentes (Alva Noë). Elle se réfère aux recherches d'Etienne Darbellay et à leur cadre théorique, par exemple la théorie de la métaphore (Jakoff & Johnson; Zbikowski pour son usage en musicologie) et la compréhension des processus mémoriels (Croisile). Elle prend en compte certaines études, cruciales pour la compréhension de la belle danse, de son écriture et de sa lecture (Francine Lancelot et Marina Nordera par exemple)This thesis defines if dance could be grasps, and how. Belle danse is taken as a "cas d'école" for unswering this question. Belle danse's origin, contextualisation and definition are given in the first chapter. The second chapter embraces the scriptwriter perspective to analyse Beauchamps-Feuillet notation. The third chapter adopts the reader's perspective (if "reading" can mean "decode", " analyse", "interpret" and "perform".) This chapter explicits some of belle danse's rules that are implicitly explained in the sources. It analyses the "Türkish Dance" (c. 1725). This score —and this dance— has been choreographed by Antony L'Abbé, and notated by François le Roussau. This thesis is written in reference to Guillemette Bolens researches that takes in acount the use of kinesthesis for writing and reading actions. It points to Etienne Darbellay's research based both on "théorie de la métaphore" (Lakoff and Johnson) and memory's process understanding (Croisile), and to crucial researches on belle danse writing and reading, particularly those of Marina Nordera
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Utt, Melissa Gail. "Building the Tango." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/36203.
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This is building the tango, a constructive investigation into the material consequences of dancing the tango.
Building the tango is about the resurrection of passion and life, as well as passion for life, of which the reality is now. It also involves resurrecting passion and life on a site occuppied by ghosts and ruins: Belle Isle in Richmond, Virginia.
The constructive investigation of dancing the tango on Belle Isle includes reclaiming the scandal, individual movements and individuals moving together, opposition of body to body, opposition of bodies to space, placement of feet, love of the dance, and feeling the heat of the tango.
Studying the material consequences of the tango requires that the structure, itself, is a tango. It is symbolic of a manâ s struggle for the possession of a woman. The structure is one part man, one part woman, every part dance. The constructive realities of the tango create a dance of materials, a dance of space and a dance of bodies within.Master of Architecture
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Coon, Courtney E. "Dance and meaning analysis of modern-day belly dancers through the context of ancient Egyptian dance /." 2005. http://www.oregonpdf.org.
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Thesis (M.A.)--Northern Arizona University, 2005.Includes bibliographical references (leaves 142-147). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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Embree, Jennie. "Belly dance : an example of cultural authentication?" Thesis, 1998. http://hdl.handle.net/1957/34167.
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Cultural authentication is a concept that was developed by Erekosima (1979),
Erekosima and Eicher (1981), and Eicher and Erekosima (1980, 1995) to aid in the
description of the transfer of artifacts from one culture to another. The purpose of this
study was to investigate whether the development of belly dance costume in the United
States is an example of cultural authentication and, in so doing, further test and refine the
concept of cultural authentication.
Contemporary belly dance costume in the United States was described after
conducting field research of the belly dance community over a period of ten months. The
history of belly dance and its associated costume in America was explored through the
review of previous historical research. Belly dance and its associated costume in the
United States was then analyzed in terms of cultural authentication by addressing a series
of seven questions. These seven questions were formulated to determine whether the four
levels of cultural authentication (selection, characterization, incorporation, and
transformation) occurred, and whether they occurred in that order.
Contemporary belly dance costume in the United States was classified into two
categories: replicated and creatively interpreted. The dancer who wears replicated
costumes believes that he/she is imitating, to the best of his/her ability, a documented
style of dress worn by a specific ethnic group, at a specific time, within the areas of the
Near and Middle East. The dancer who wears creatively interpreted costumes believes
that while he/she has been inspired by documented styles of dress worn by ethnic groups
within the areas of the Near and Middle East, his/her costume is particularly reflective of
his/her unique personality and aesthetic preferences.
It was concluded that the concept of cultural authentication is exceedingly vague.
As currently defined, the concept and its four levels are inadequate to describe how
Americans have acquired and used belly dance and its associated costume, what kinds of
meanings Americans have attached to belly dance and its associated costume, and how
market forces, advanced communication and transportation technologies, and individual
and cultural identity issues are continually prompting and facilitating innovations to belly
dance and its associated costume.Graduation date: 1999
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Kelly, Brigid. "Belly dancing in New Zealand : identity, hybridity, transculture : a thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Cultural Studies in the University of Canterbury /." 2008. http://hdl.handle.net/10092/2536.
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Sookoo, Ashika. "Belly dance as a strategy for women's self care." Thesis, 2008. http://hdl.handle.net/10413/848.
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The focus of this study was the exploration of belly dance as a form of female self care. The specific facet of self care explored was female health and well being as impacted on by belly dance. There is a limited amount of existing scholarly studies t hat focus on the value of belly dance in self care. Therefore this study followed a qualitative format which promoted exploration of th is under researched field. This study occurred in a context where women’s lives are busier than ever before as a result of their involvement in both the home and the workplace. Thus there is a need for them to engage in self care activities that effectively restore and replenish body, mind and soul in order to enable them to continue to meet their multiple responsibilities in a functional manner. Facets of self care explored were psychical, mental and social health and well being as impacted on by belly dancing. To achieve this, data collection tools of focus groups and interviews, following a semi-structured format were used. The results showed that belly dance plays a significant and positive role, not only in female self care but in enjoyment as well. Some specific aspects of belly dance found to be useful to female self ca re was its liberating use of the female form, its non-discriminatory aspect that unites all women in enjoyment of the dance, the absence of men, the supportive presence of women, the music, the feminine aspects, a secure environment and the opportunity that belly dance presents for women to pl ay a different role. Conclusions point to women viewing society as androcentric and providing little opportunity for feminine expression. A major conclusion is that women are non-verbally strong, relational beings who are predisposed to the language of dance and music. They are effectively revitalised by dance and music as presented by belly dance. This has implications for social work service delivery to women on multiple levels.Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.
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Yao, Ru-Ting, and 姚如婷. "A Study of the Bodily Experiences of Belly Dance." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/38987972263631633805.
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碩士中原大學
室內設計研究所
95
Abstract This study illustrates the roles of belly dance playing for females’ physical, mind and spirit during the transferring between imperialism and feminism. How the characteristics of the cultural meaning delivered by belly dance have influenced females’ shyness and cognitions and the bodily experience during spiritual transition? The theoretical structure of this study is based on the perspectives of Edward W. Said, who is an Orientalist. The connection between females and social values is discussed and by the description of bodily sensuous experiences, the cultural meaning presented by belly dance for females is explored greatly. The theme of this study is belly dance and then textual analysis is adopted. Much textual information about belly dance has been collected and thus the historical roles of which belly dance have played in social cultures has been defined. Furthermore, the time axis of this study has been set from Ancient Egypt till the modern time of the twenty-first century. And the transition of social popular cultures has been set as the basis of periodical discussions, i.e. Goddess Cult Period, World Bazaar Period, Feminism Period and Health-oriented Period. The following topics are discussed: (1) The transition of belly dance culture in terms of social values (2) The symbolic meaning of bodily experience of belly dance (3) The transferring of social cognition to belly dancing, including the transition from a stealth position to an appearing position. The conclusion of this study can be categorized into three aspects: (1) During the transition of social cultural values, there always have some issues about identification recognition and gender recognition. By belly dance, females understand their bodies under social cultures. (2) The art of belly dance in the section of culture is the relation between gazing and peeping. It also presents females’ relieve and respect of their bodies. (3) The bodily experience of belly dance has been transiting and changing under the changes of social cultures. However, in terms of the images of popular cultures, it is still the most avant-garde and the most modern symbol, which influences profoundly females’ life style and cultural imaginations.
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"Belly Dance as a Means of Dance Therapy for Survivors of Sexual Assault." TopSCHOLAR, 2006. http://digitalcommons.wku.edu/stu_hon_theses/7.
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Chen, Chih-hao, and 陳志豪. "Sports and Gender Stereotypes: A Case Study of Male Belly Dance Instructors." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/10230331891830907654.
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碩士國立體育大學
體育研究所
99
The purposes of this study is to find how gender stereotypes and masculinities affect male belly dance instructors’ learning and coaching, to investigate the representation and the relationship between gender stereotypes and masculinities, and to examine the status of the male dancers in belly dance. Male belly dance instructors are the research subjects. The researcher employs qualitative research methods, including participant observation and in-depth interview to collect data, including pictures, videos and interview transcripts. The results show that (1) male belly dance instructors are usually the professionals in other dances before becoming belly dance instructors; (2) the obvious gender stereotyping is found in the belly dance studios, even in the male coach’ studios, male students are easily squeezed out by others and it is hard for them to continue the classes; (3) the professionalism of male belly dance instructors can avoid gender stereotypes when coaching; and (4) the diversity of belly dance and its course design can make breakthrough in gender stereotypes and attracts more male belly dancers and students.
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Tseng, Shu-Ling, and 曾淑羚. "The Action Research of Integrating Somatic Movement Education into Belly Dance Instructions." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/873w59.
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碩士國立臺東大學
進修部運動休閒管理碩(假日)
100
This study investigated the feasibility of integrating somatic movement education into belly dance instructions. An experimental instruction was designed to examine the effects of somatic movement education on dancers
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"The Belly Dancer Project: A Phenomenological Study of Gendered Identity through Documentary Filmmaking." Doctoral diss., 2012. http://hdl.handle.net/2286/R.I.14812.
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abstract: In this study, the researcher develops a documentary-driven methodology to understand the ways four women in the United States use their involvement in the belly dance phenomenon to shape their ongoing individual identity development. The filmmaking process itself and its efficacy as a process to promote self-understanding and identity growth among the participating belly dancers, are also investigated phenomenologically. Methodological steps taken in the documentary-driven methodology include: initial filmed interviews, co-produced filmed dance performances, editorial interviews to review footage with each dancer, documentary film production, dancer-led focus groups to screen the film, and exit interviews with each dancer. The project generates new understandings about the ways women use belly dance to shape their individual identities to include: finding community with other women in private women's spaces, embodying the music through the dance movements, and finding liberation from their everyday "selves" through costume and performance.Dissertation/Thesis
Ph.D. Anthropology 2012
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Yang, Jing-Ling, and 楊靜玲. "Impact of Belly Dance Learning on the Body Image and Physical Mental Health for the Adolescences." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/54708136480618283247.
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碩士中國文化大學
生活應用科學系碩士在職專班
104
Belly dance is widely popular with teenagers due to its unique shaping fitness function in recent years, especially Teenagers often pay special attention on the change of their body shape. Belly dance is considered better than the other dance achieve fitness, attitude adjustment, pleasure and self-confidence function. The teenager emphasized variances of physical and psychological strongly that would affect the satisfaction of body image for life adaptation and personality development. Accordingly, 440 volunteers (age of 15~18) were tested that learns belly dance by using the questionnaire. The purpose of this study is in to investigate the relation of belly dance learning and body images that how affect the physical and mental health. Results showed that adolescents of different ages and family situations with significant differences of body image, which has a significant impact on body image and self-esteem like confidence. That means learning belly dance can increase adolescent sense of self-satisfaction, self-worth and self-confidence. In addition, sex, age and experiments of sport are main factors that affect learning satisfaction of the teenagers. Adolescent body satisfaction can increase self-esteem and self-confidence and improve also the learning belly dance satisfaction. The results were found the significant positive coorelation among the self-esteem, body image and satisfaction of learning, However, the self-esteem shown more efficiency than the body image satisfaction for learning belly dance in the teenagers. The recommendations listed as follows: 1. Encouraging teenagers to take the initiative to explore their advantages and strengths. 2. Strengthing the development of the physiology and psychology for teenagers. 3. Strengthing the self-esteem and self-confidence of teenagers.
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SHIH, YI-RU, and 施怡如. "A Study on Involvement Level and Well-Being of Belly Dance Participants：The Mediating Effects of Flow Experience." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/9yq9t4.
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碩士亞洲大學
休閒與遊憩管理學系碩士在職專班
107
The purpose of this study is to explore the relationship between the degree of involvement level, flow experience and well-being of the participants in belly dance leisure sports. In this study, a questionnaire survey was conducted by means of convenient sampling, and questionnaires were distributed mainly by means of online questionnaires, and a total of 182 valid questionnaires were obtained. The analyzing the data collected by basic data analysis, T-test, ANOVA, analysis and hierarchical regression analysis. The results of the study show that there is a significant positive correlation between the degree of involvement level of the participants in belly dance leisure and the flow experience. Second, belly dance leisure exercise participants have a significant positive relationship between the degree of involvement level and well-being; third, belly dance leisure exercise participants have a significant positive correlation between the flow experience and well-being; Flow experience has a complete mediating effect on the relationship between involvement level and well-being, that is, through the flow experience, the overall impact between the degree of involvement level and well-being increases. Key words: Belly Dance, Involvement Level, Flow Experience, Well-Being
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Lin, Yu-Ling, and 林禹伶. "A Study of the Relationships among Leisure Involvement, Flow Experience and Leisure Benefits in the Belly Dance Participants." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/06312290629607657032.
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碩士大葉大學
休閒事業管理學系碩士在職專班
103
Exercise could not only enhance physical, mental health but also promote the quality of life. In Taiwan, belly dance has been one of the most popular leisure activities over the past decade. The study focuses on the belly dance participants in order to investigate the relationships among belly dance participants’ leisure involvement, flow experience and leisure benefits. This study had used the questionnaire survey by purposive sampling and applied Likert scale for measurement. Four hundred of questionnaires were distributed. A total of 351 completed were returned, yielding a response rate of 87.75%. The collected data were analyzed statistically by using descriptive statistical, t-test analysis, one-way ANOVA, Pearson product-moment correlation and regression analysis. The major findings of this study were summarized as follows. First, majorities of the sample were female and were primarily married. Most of them reported monthly incomes of NT$20,001~60,000. Second, there was a significant difference in the leisure involvement, flow experience and leisure benefits to the respondent profile including age, stage performance experience, practice time of dancing, and seniority. The difference between belly dance participants’ marital status and leisure involvement reached the significant level. There was a significant difference between belly dance participants’ income and flow experience. Third, there was a significant positive correlation between leisure involvement, flow experience and leisure benefits. Therefore, the higher in leisure involvement and the flow experience would be the same way higher the leisure benefits. Fourth, leisure benefits can be predicted efficiently from leisure involvement, and self-expression provided higher anticipation towards leisure benefits. According to the result, belly dance indeed could improve physiological benefit, psychological benefit, and aesthetic benefit so as to promote leisure benefit. Finally, hopping the government should promote belly dance with great exertion, which could contributive to people's health and quality of life.
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Středová, Lucie. "Orientální tanec v kontextu západní a arabské islámské společnosti." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313295.
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Belly Dance in the Context of the Western and Arab Islamic Societies The present work deals with the development and social status of the belly dance and professional belly dancers in the Arab Islamic society and examines to which extent that status was influenced by the West and how the belly dance made its way to the Western culture. The work concentrates on the 19 th and 20 th centuries with a special focus on Egypt as a centre of the belly dancing. This work is supplemented with a questionnaire, the results of which depict the development of the social status of the belly dance and dancers in the Arab society at the beginning of the 21 st century.
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Chen, Chao-Cheng, and 陳昭成. "A Study of the Body Experience in Middle Eastern Belly Dance Infusion Curriculum -A Case Study in Wanhua Community College." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/31520246647631357645.
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碩士國立暨南國際大學
成人與繼續教育研究所
99
Now domestic community colleges face the problem that few students are interested in academic curricula, and that the classes of life arts and skills are overcrowded. Besides, when it comes to the figure, the public tends to “ regard being thin as being beautiful, ” and this has led most people to have the wrong concepts about what the body image should be. Therefore, the purport of the research is to put the fusion of different curricula into practice during the dance course of community college. We will make the issue of the body image merge into the original main axis and through the discussion and sharing of the course, explore the culture of getting slim, understand the participants’ experiences of body development and deal with the future development of the curricula of life arts and skills in community college. The research adopts the fusion curriculum offered by Min-Shiung Hsu (2008b, 2009, 2010), and put the curriculum of Middle East belly dance into practice in Taipei Wanhua community college. In the strategy of viewing community substance as the object which can be built, we conducted the fusion curriculum through the pattern of a single subject with additional elements. Besides, according to the Multidimensional Body-Self Relation Questionnaire (MBSRQ) , which was put forward by Cash (1990),we classify our research findings into seven aspects and from them we choose self-appearance evaluation, body areas satisfaction scale, appearance orientation, and self-classified weight scale as the main issues of the fusion of the body image. In the methods of qualitative research , we interviewed ten members of the Middle East belly dance, and thereby explored the development of their body experiences in the fusion curriculum of the Middle East belly dance. The result of the research is that before attending this fusion course, the trainees would blindly follow the standard of body image anticipated by the society in the development of the body experiences. The experience of taking part in the fusion course helped trainees to broaden the vision and deepen the understanding of the body image. After participating in the fusion course their body images tend to be on the positive side at last. However, they still expected to come up to the expectations of the society so as to win recognition. The discussion and sharing of the fusion curriculum helped to examine their own values and helped to promote the effective learning and appreciation of the axis of the curriculum. Key Words: Community College, Infusion Curriculum, Middle Eastern Belly Dance, Body Image
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Wang, Pei-Shan, and 王佩珊. "Representing Beauty: The Meaning and Changes of the Process of Belly-Dance Performance by Burn Survivors and People with Facial Disfigurement." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/50295467612920821185.
Full textAbstract:
碩士東吳大學
社會工作學系
97
This research was carried out in the researcher’s own workplace, and has for purpose to present the performance experience of a belly-dance troupe composed of burn survivors and people with facial disfigurement. Through a narration method, the researcher presents how members of the troupe learned belly-dancing, tells stories related to performances and tries to understand the psychological and social significance of physical movements during these performances. Finally, the researcher hopes to highlight the aesthetic conditions that help make belly-dancing performances so moving. The experience of the performers is understood by examining three aspects: 1. From the perspective of dancers themselves: Dancing stirs up the dancer’s desire to express herself and feel desirable. Beauty stems not only from the dancer’s external appearance, but from the expression of her subjectivity, from the individual possibilities the dancer discovers in herself, from the discovery that her dancing can inspire others and from the support of peers. 2. From the perspective of social relations: During performances, social relations are transformed, expanding the self-concept of dancers. As the role of these women is transformed, a feeling of self-value emerges. And in interpersonal relations, the process of comparing one self to others gives these women the force to change and challenge themselves. 3. From the perspective of social structures: The belly-dancing performance of dancers with facial disfigurement creates a strong contrast in the minds of the public because it goes against traditional beauty standards, creating a new successful experience. However, in the continuous process of performing and due to performance needs, dancers unconsciously slip into a situation of group discipline, showing how social discipline is internalized. By gaining a better understanding of these performers, the researcher argues that the beauty of dancing re-emerges because of the spontaneity, the responsibility and informality attached to the exercise. The beauty of the belly-dancing troupe composed of women with facial disfigurement lies in the way these women demonstrate their own subjectivity, and embodies the beauty of helping others through social work.
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Yen, Chia-Ju, and 顏伽如. "Brilliant Phoenix Dancing in Spring -- The Construction of the Facial Disfigurement Women’s Body Image and Meaning of Life by the Performance of Belly Dance." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/3ns28x.
Full textAbstract:
博士國立體育大學
體育研究所
101
Belly dance was popular in the Middle East, which was originally a dance ritual offering to God. In the early 2000s, Taiwan has also set off a belly dance craze, from the campus to the community groups, adults or children, pregnant women, the young and the old, even the female judges with serious social image also performed at the end-year party. This qualitative ethnographic research adopted theory of Maurice Merleau-Ponty’s Phenomenology of Perception and Foucault's Aesthetics of Existence to interview the facial disfigurement women how the process of their participation in performing belly dance constructed their body image and meaning of life. The study found that it was hard for them to endure the critical pain of the period of treatment and rehabilitation, both of the physical and psychological pain. Whereas, they can hold the spirit of sharing happiness with others to neglect the pain of practicing belly dance. Originally, they always tried their best to hide their scars, with the inspiration of peers, so that they broke through the barriers. After the performance of belly dance, they found that it is not a dream to be beautiful again and regained the confidence of life to get rid of the social stigma. The Aesthetics of existence into a deep caring own spirit, and construct a highly creative body image. Furthermore, from other’s help of their hard days make them to feedback the society to help those who have the same trouble as them did. This experience of performing belly dance, not only extends their injured physical limitations, but makes them closer to the society.
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Ebelová, Patricie. "Femme fatale jako kulturní konstrukt: fenomén osudového ženství v kultuře historické a transkulturní perspektivě." Doctoral thesis, 2016. http://www.nusl.cz/ntk/nusl-353518.
Full textAbstract:
The main topic of Femme Fatale as a Cultural Construct: The Fatal Womanhood Phenomenon in a Historical and Transcultural Perspective is to describe, compare and interpret "femme fatale" in the context of the belly dancer, geisha and salonnière phenomena. The thesis objective, and subsequently its main research question, is to perform a comparative analysis of femme fatale as a unique cultural construct that is projected into various roles of a woman in an original manner. Special attention is paid to make note of concrete cultural and historical attributes related to the profession, knowledge, skills and social roles of belly dancers, geishas and salonnières. Among secondary objectives, the thesis intends to take an interdisciplinary stance in order to elaborate the problems of emancipation and sexuality in historical attitudes toward women, and to identify fatal womanhood motives in fine arts. Last, but not least, the plan is to study cultural and aesthetic contribution of women regarded as femmes fatales. The thesis consists of four relatively standalone chapters, each of which take different interdisciplinary angles to analyze the fatal womanhood phenomenon. The first chapter, a historical exposé of the thesis, investigates the femme fatale through the eyes of mythology and religion. The second chapter,...
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Mackintosh, Marie J. "The lost legacy of Margaret Laurence : a rediscovery of A Tree for Poverty, The Prophet's Camel Bell, Heart of a Stranger, and Dance on the Earth." 2009. http://hdl.handle.net/1993/3779.
Full textAbstract:
While the fictional work of Margaret Laurence has received much critical attention, A Tree For Poverty, The Prophet's Camel Bell, Heart of a Stranger, and Dance On The Earth have been ignored to the extent that they form a remnant that might be termed the lost legacy of this major Canadian author. This thesis is a call to re-read these seminal texts within the context of contemporary critical strategies that will rescue them from the oblivion to which they were consigned by thematic critics. In Chapter Two, A Tree For Poverty is appreciated as a text in which Laurence, as mediating presence brings the oral Somali literary tradition to voice; an apprenticeship for dismantling the binaries of centre and margin. The Prophet's Camel Bell, the focus of Chapter Three, traces the creation of a melange text that mixes autobiography, travel literature and post colonial writing on a textual site that defies hierarchical assumptions. Laurence's early efforts in cultural decoding provide a paradigm for post structuralist Canadian writing in Heart of a Stranger, an occasion of jouissance and enlightenntent that is reclaimed in Chapter Four. Chapters Five and Six examine the ecofeminist philosophy that is articulated in the fluid life writing experiment of Dance On The Earth. A module of matriarchal mutuality choreographed by the dance motif structures the memoir while the miscellanv that follows is a palimpsest of Laurence's career from translator to lifewriter. This thesis foregrounds the importance of new areas of critical and academic study that will bring these marginalized texts to critical attention and revitalize the work of Margaret Laurence for contemporary audiences.