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Dissertations / Theses on the topic 'Dance science'
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Green, Amy Catherine. ""Dance, Dance Revolution": The Function of Dance in American Politics, 1763-1800." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626597.
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Andersen, Hannah. "Dance Science and Somatics in Training and Performance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22666.
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This mixed methods investigation analyzes the effect of a novel somatics training program on dance skills. Fourteen dancers were divided into treatment and control groups. The treatment group participated in an eight-week workshop on the use of the spine utilizing sensory experiences, mini-lectures, and dance exercises. During entry and exit, all dancers learned two phrases by video containing the same motor-patterns with contrasting choreographic intents; Phrase A fluid, sustained and slow, Phrase B, dynamically enhanced. Participants performed each phrase for the camera, to be scored by a judging panel. Descriptive statistical analysis of judging data suggests the workshop positively affected their execution of skills in Phrase A, over B. Data reduction and interpretation of the participants’ interviews, questionnaires, and journals yielded several themes. This study has vast implications, suggesting combination of dance science and somatics in dance as efficacious for dancers’ experiences and execution of technical dance skills.
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Thiede, Jacob Ryan. ""Digital Tap Dance": Tap Dance as Medium for Composition." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703288/.
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This dissertation investigates the process of collaboration and the application of both notational and technological schemes to integrate elements of contemporary composition and tap dance as a consolidated art form. Overall, this document gives an overview of choreographer/composer collaborations in Western classical music; movement notation; and ultimately analyzes my original music—a live set for tap dancer, live musicians and electronics—entitled Digital Tap Dance. Altogether, this project represents the culmination of music and dance as a compelling intermedia collaboration. By (1) researching different practices of composer-choreographer collaborations, (2) notating rudiments for tap dance, (3) creating software for tap dancers, and (4) composing original music for tap dancers, this dissertation will create options for composers and choreographers alike in composition and improvisation.
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Eno, Dianne E. "Mountain Dance: A Transdisciplinary Exploration of Environmental Dance as an Autopoietic Expression of Ecological Connectivity and Synthesis." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1535143191801524.
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Nielsen, Eric Douglas 1977. "Web-tools for streamlining ballroom dance competition management." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29703.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.Includes bibliographical references (p. 465).
This thesis presents the design and development of the initial offerings in a potential suite of computer aids for ballroom dance competitions. The suite of tools is known by the name CompinaBox; while the initial module which handles on-line registration for competitions is named SlidingDoors. The tools have been developed using the PHP programming language a scripting language that is easily embeddable within the HTML used to create web-pages. The PostGreSQL database system is used to handle all data storage requirements. The registration component was selected as the initial tool because it provides the data needed by practically all of the other possible tools. SlidingDoors has been coded from scratch twice, under two radically different coding methodologies. The first was in accordance with "common" web-programming views and a completely dynamic page generation model. The second was along the more traditional software engineering model and used more static page generation. As the story of the tool development unfolds, trade-offs between the two approaches are discussed.
by Eric D. Nielsen.
M.Eng.
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De, Leon Jennifer. "Dance and stillness a phenomenological hermeneutic inquiry into the experience of stillness : presented through the medium of dance performance and written exegesis : exegesis submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Health Science, 2005." Full thesis. Abstract, 2005.
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Twitchett, Emily. "Physiological demands of performance in Classical Ballet and their relationships with injury and aesthetic components." Thesis, University of Wolverhampton, 2009. http://hdl.handle.net/2436/89157.
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At performance level, classical ballet is a form of high-intensity, intermittent exercise, requiring a strong aerobic foundation. Existing training methods have remained largely unchanged over the past century, resulting in poorly conditioned dancers who are prone to injury. The purpose of the thesis was to examine, through several inter-related studies, the demands of training and performance at professional level, and whether fitness levels of classical ballet dancers affect both aesthetic components of performance, and injury. All participants were either in the final year of elite vocational training or were professional dancers. Initial, observational, investigations indicated that both rehearsal and performance posed a variety of demands on different ranks of dancer within a company’s structure, and depicted daily workloads which supported previous complaints of fatigue. Before examination of fitness or performance could begin, novel tools to assess both aerobic fitness, and performance proficiency in ballet dancers were designed and tested for reliability and validity. Both tests met with test-retest reliability standards, with 95% limits of agreement of ±6.2 ml.kg.-1min-1 for the aerobic test, and ±1.5 points (out of 10) for the performance rating scale. High overall performance scores were then best predicted by high jumps of both legs and good active flexibility of the left leg (F=4.142, df=3, P=0.042). Following this, an intervention study investigated the effects of a period of supplemental fitness training, designed to enhance aerobic fitness, jump height and local muscular endurance, on the performance scores of a randomly assigned group of dancers. A control group continued with regular training. Performance scores at the outset of the study were compared to those following the intervention period. Overall scores for the intervention group increased by significantly more than those of the control group, (p=0.03), with greatest gains seen for control and skill, indicating that supplemental fitness training, specifically targeting aerobic and local muscular endurance, can help improve performance, particularly elements such as control and skill. Finally, two separate studies confirmed that low aerobic fitness and low body fat percentage were related to injury in ballet dancers. Further research needs to focus on fully ascertaining the physical demands of ballet, and whether better training dancers to meet these demands results in enhanced performance and reduction in injury.
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Hu, Emily(Emily D. ). "Dance2Music : an exploration of music creation through dance in virtual reality." Thesis, Massachusetts Institute of Technology, 2021. https://hdl.handle.net/1721.1/130690.
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Thesis: M. Eng., Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science, February, 2021Cataloged from the official PDF of thesis.
Includes bibliographical references (pages 77-80).
We present Dance2Music, a virtual reality dance experience where the music changes based on the way that the dancer moves. The user is immersed in an environment where they are free to express themselves, and the user's hand and head positions are tracked in real time. We develop a set of mappings from movement to musical responses that translates the user's movement expression to musical expression. We then evaluate the system through a series of user testing. Through the creation and evaluation of this system, we examine the connection between music and dance from a new perspective. We explore ways to map from movement to music. We further discuss the features that contribute to a natural, intuitive user experience, such as enabling the music to vary over a wide expressive range and constructing a compelling visual environment
by Emily Hu.
M. Eng.
M.Eng. Massachusetts Institute of Technology, Department of Electrical Engineering and Computer Science
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Berry, Drago Elisabeth Michelle. "The Art and Science of Reading Faces: Physiognomic Theory and Hans Holbein the Younger." Master's thesis, Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/86414.
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Art HistoryM.A.
This project explores the work of Hans Holbein the Younger, sixteenth-century printmaker and portraitist, through the lens of early modern physiognomic thought. This period's renewed interest in the discipline of physiognomy, the art and science of "reading" human features, reflects a desire to understand the relationship between outer appearances and inner substances of things. Physiognomic theory has a host of applications and meanings for the visual artist, who produces a surface representation or likeness, yet scholarship on this subject has been limited. Examining Holbein's social context and artistic practice, this project constructs the possibility of a physiognomic reading of several major works. Holbein's engagement with physiognomic theories of appearance and representation provides a vital point of access to early modern discourse on character, identity and self.
Temple University--Theses
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Descoteaux, Jill. "Dancers’ Reflections on Their Healthcare Experiences: Perspectives from Australia and the USA." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1530538560639848.
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Coladangelo, L. P. "Ontology and Domain Knowledge Base Construction for Contra Dance as an Intangible Cultural Heritage: A Case Study in Knowledge Organization of American Folk Dance." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1580295429503879.
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Dubbin, Greg A. "Dance evolution : interactively evolving neural networks to control dancing three-dimensional models." Honors in the Major Thesis, University of Central Florida, 2009. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1254.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Engineering and Computer Science
Computer Science
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Jewett, James W. "Dancing in the play of the senses: An exploration of dance and technology." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318389.
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Thesis (Ph.D.)--Brown University, 2008.Title on DVD: MELT. Vita. Advisor : Todd Winkler. Rock copy 2 : includes supplementary digital materials. Includes bibliographical references (leaves 147-162).
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Klopp, Sarah Elizabeth. "Ground Reaction Forces for Irish Dance Landings in Hard and Soft Shoes." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6635.
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Introduction: Irish dance has evolved to become more athletically demanding, thus making the art form very hard on dancers' bodies. Irish dancers must land from difficult moves without letting their knees bend or heels touch the ground, causing large amounts of force to be absorbed by the body. Past studies have found dancers landing with a range of 4.5–6 times body weight, potentially causing high amounts of overuse injury. The majority of injuries incurred by Irish dancers are due to overuse (79.6%). The landings that occur in Irish dance have been minimally evaluated in current literature. Obtaining values of vertical ground reaction forces (GRFs) produced by Irish dancers will assist in understanding the causes of overuse injuries, fill significant gaps in the current literature, and identify which Irish dance moves should be used less frequently to possibly reduce the chance for overuse injury. Purpose: To determine vertical GRFs produced by female Irish dancers in hard and soft shoes during common movements. The purpose of this study was to determine peak force, rise rate of force, and impulse in selected Irish hard shoe and soft shoe dance movements. Materials and Methods: Sixteen female Irish dancers between 14 and 25 years of age were recruited from the 3 highest competitive levels. Each performed a warm-up, reviewed 8 common Irish dance moves, and then performed each move 3 times upon a force plate. Four moves each were performed in soft and hard shoes. GRFs were measured using a 3-dimensional force plate running at 1000 Hz. Peak force, rise rate, and vertical impulse were all calculated. It was hypothesized that the 8 moves would produce different GRFs. Results: Peak forces normalized by each dancer's body weight were significantly different across moves (F = 65.4, p < 0.01; F = 65.0, p < 0.01; and F = 67.4, p < 0.01 respectively). Years of experience was not correlated with peak force, rise rate, or impulse (p < 0.40). Conclusion: There is a large range in peak forces created by Irish dancers. Moves that have high average peak forces may have a higher risk in causing overuse injuries. All dancers should take care to limit the use of these moves in their choreography to prevent such injury.
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Mills, Dana N. "Moving beyond boundaries : an exploration into the relationship between politics and dance." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9a7c8578-b13c-4036-813c-867a53dc2e77.
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This thesis looks into the relationship between dance and politics. It argues that dance is both a method of intervening in other symbolic languages and a system of inscription that is intertwined in that moment of intervention. Dance as a political language has a subversive potential; it can challenge verbal political statements. In the thesis I work with and against Jacques Rancière’s interpretation of politics as re-distribution of the sensible and with Aletta Norval’s reading of Rancière’s conception of democracy as egalitarian inscription which I expand and read as egalitarian embodied inscription. I show that Rancière’s focus on politics as rupture disables the recognition inscription as continuity. I show that dance enables a reading of politics as both rupture and continuity, an intervention that leaves traces that endure after it ends. Through a genealogy of the concept of the Dionysian I show that philosophers and dance practitioners alike have read dance as both subversive and affirmative, an intervention and a system of inscription that acts independently of spoken discourse. I show that Isadora Duncan created the first political moment in modern dance as a re-distribution of the sensible; at the same time although she created egalitarian embodied inscription she did not leave a codified system of movement, and did not contradict her politics in spoken language. I show that Martha Graham created the second moment of re-distribution of the sensible in which she created a codified movement language that subverted politics in spoken words. Finally, I revisit Rancière’s work and bind his discussion of human rights with the problematic of the tension between rupture and continuity. I re-read both these arguments with my interpretation of dance as political and argue that it yields a reading of dance as enabling the creation of human rights claims. Dance is both subversive and affirmative.
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Forcum, Zackary. "Pulling back the veil| Using science to understand movement's ability to aid in recovery from psychological trauma." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10066319.
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Psychological trauma can literally disrupt life’s flow by damaging brain and bodily systems. When a flashback to a traumatic event is triggered in a person suffering from traumatic stress, or PTSD, key functions in the brain malfunction and are deactivated, potentially causing massive disassociation. In addition, trauma can cause chronic hyperarousal, resulting from the body’s malfunctioning autonomic nervous system’s defensive response of fight, flight, or freeze. To cope with these damaged bodily and brain systems and processes detrimental acts of hyperfocus and numbing are often employed by sufferers of trauma. However these obstructions can be cleared though movement practices: top-down and bottom-up regulation methods, innately embedded in certain movement and dance disciplines such as yoga and creative dance, have shown to aide in trauma recovery. This opens the possibility that a dance/movement instructor, using trauma-conscious curriculum and facilitation techniques, can use their highly structured movement practices to engage with top-down and bottom up regulation practices to not only instruct students suffering from trauma, but offer opportunities to engage in treatment.
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Michailovskyte, Giedre. "Diversification of Contemporary Diplomacy - the Rise of Dance Diplomacy." Thesis, Linköpings universitet, Statsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119689.
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This study investigates the diversification of contemporary diplomacy in a deeper manner by choosing the concept of dance, which has never been chosen before. Theoretical andhistorical analysis of dance diplomacy helps us to answer the main research question of thestudy how does dance diplomacy contribute to the diversification of contemporary diplomacy. This research paper utilizes a qualitative methodology with the interpretative, historical, descriptive and cultural approaches and uses qualitative methods of literature review, content analysis, comparative analysis and theory triangulation. In this study we seethat dancers and choreographers complement today's diplomats, we find that the implications of cultural diversity expand an understanding of contemporary diplomacy, and that new emerging practices of dance diplomacy contribute to “new diplomacy” findings. Furthermore, practices of dance diplomacy could be described as parts of cultural diplomacy, public diplomacy, instruments of soft power or forms of nonverbal communication. This illustrates that contemporary diplomacy is somehow shaped by culture, public, power and communication, and therefore it could be understood from all these perspectives. Besides this, a chosen historical perspective and a background of the dance diplomacy help us to see that dance diplomacy is a natural consequence of the evolution of diplomacy. At last, it is relevant for the academic society to ground it on a scientific theoretical basis, which could expand our understanding of contemporary diplomacy.
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Charbonneau, Emiko. "Bridging the Gap Between Fun and Fitness: Instructional Techniques and Real-World Applications for Full-Body Dance Games." Doctoral diss., University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5780.
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Full-body controlled games offer the opportunity for not only entertainment, but education and exercise as well. Refined gameplay mechanics and content can boost intrinsic motivation and keep people playing over a long period of time, which is desirable for individuals who struggle with maintaining a regular exercise program. Within this gameplay genre, dance rhythm games have proven to be popular with game console owners. Yet, while other types of games utilize story mechanics that keep players engaged for dozens of hours, motion-controlled dance games are just beginning to incorporate these elements. In addition, this control scheme is still young, only becoming commercially available in the last few years. Instructional displays and clear real-time feedback remain difficult challenges. This thesis investigates the potential for full-body dance games to be used as tools for entertainment, education, and fitness. We built several game prototypes to investigate visual, aural, and tactile methods for instruction and feedback. We also evaluated the fitness potential of the game Dance Central 2 both by itself and with extra game content which unlocked based on performance. Significant contributions include a framework for running a longitudinal video game study, results indicating high engagement with some fitness potential, and informed discussion of how dance games could make exertion a more enjoyable experience.Ph.D.
Doctorate
Computer Science
Engineering and Computer Science
Computer Science
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Kudva, Sonali S. "It's Not All About Song and Dance: How the Natyashastra Informs Contemporary Bollywood." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556281429094399.
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Paenga, Maria Dawn Te Ahu. "Te Māoritanga wellbeing and identity : Kapa Haka as a vehicle for Māori health promotion : a dissertation submitted to Te Wānanga Aronui o Tamaki Makau Rau, AUT University in partial fulfilment of the requirements for the degree of Master of Health Science (MHSc), 2008." Abstract Full dissertation, 2008.
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Dissertation (MHSc--Health Science) -- AUT University, 2008.Includes bibliographical references. Also held in print (xi, 132 leaves : col. ill. ; 30 cm.) in North Shore Campus Theses Collection (T 362.108999442 PAE)
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Smyres, Alyssa Leann. "Multifidus Muscle Size and Atrophy Among Dancers With and Without Low Back Pain." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3289.
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Design: A single-blinded, cross-sectional observational study.
Objectives: Examine muscle cross-sectional area and symmetry of the lumbar multifidus muscle in elite ballroom dancers with and without low back pain (LBP).
Background: The incidence of LBP among elite ballroom dancers is high and at Brigham Young University is 57%. Previous research has linked lumbar multifidus muscle atrophy to low back pain; however this relationship has not been examined in ballroom dancers.
Methods and Measures: Lumbar multifidus cross-sectional area was assessed at rest on the right and left side at levels L1-L5. Thirty-seven subjects (age 24 ± 3.2 years; height, 172.8 ± 11.3 cm; mass, 54.6 ± 4.5 kg) were divided into one of three groups. Participants who reported LBP severe enough to interfere with dance training and daily living were allocated to the LBP group (reported pain at rest, during dance, and following dance) (n=15). Subjects who reported LBP that was not strong enough to interfere with training and daily living were allocated to the minimal pain group (reported pain during dance and following dance) (n= 6). And those who reported no back pain were put into the no pain group (n=16).
Results: There were no significant difference in demographics between the groups (P>0.05). There was no significant difference between groups in multifidus cross-sectional area (P = .437). Asymmetry was found in all groups with the left side being larger than the right (P < .002).
Conclusion: This study provides new information on lumbar multifidus cross-sectional area in elite ballroom dancers. Future research needs to examine other causes of LBP in elite ballroom dancers in an attempt to decrease LBP in these athletes.
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Liveve, Angelius Kanyanga. "Exploring the possibility of integrating traditional music and dance into the design and delivery of lessons on the concepts of echo and waves in the grade 10 Physical Science sound topic." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/13356.
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Before Namibian independence in 1990, teaching was mostly characterized by teacher-centred pedagogies in which teachers were perceived as the main sources of knowledge. This resulted in learners being passive recipients of such unquestioned knowledge. After independence and to address this, a new educational system was introduced which promoted learner-centred education (LCE) pedagogy. Despite these grand ideals, educational changes in sub-Saharan Africa form a complex issue involving tensions between policy formulation and implementation. This presents Namibian teachers with some challenges in enacting LCE pedagogies. One of these challenges is to find ways to motivate learners and to assist their learning by finding relevant and interesting connections between subject topics and their own experiences and everyday culture outside the classroom. An inability to enact the new curriculum results in learners performing poorly in subjects such as Physical Science. Against this backdrop, this study sought to explore whether or not the integration of traditional music and dance into the design and delivery of lessons on the concepts of echo and waves could influence grade 10 Physical Science learners’ sense making and dispositions towards science. This study was underpinned by an interpretive paradigm. It was informed and guided by the socio-cultural theory as my theoretical framework. The study was carried out with a grade 10 Physical Science class consisting of 30 learners at Lyambombla Combined School (pseudonym) in the Kavango West Region in the northern part of Namibia. Data were generated through diagnostic and summative tests, interviews and lesson observations incorporating traditional music and dance. The findings of the study showed that learners’ sense making and dispositions toward science were positively influenced through traditional music and dance. The study thus recommends the incorporation of indigenous ways of knowing in order to enhance meaning making in science classrooms.
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Wachowicz, Fátima. "Embodied: um espetáculo de metáforas dançadas." Escola de Dança, 2005. http://repositorio.ufba.br/ri/handle/ri/27072.
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O presente trabalho tem como objetivo analisar o espetáculo Embodied, de Cristian Duarte, usando como fundamentação teórica a Embodied Cognitive Science, sobretudo no que se refere ao estudo das metáforas, abordado por George Lakoff e Mark Johnson nas publicações de 1999(Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) e 2002 (Metáforas da Vida Cotidiana). Relacionar dança e ciência foi a estratégia utilizada para a análise coreográfica, sobretudo porque o livro Philosophy in the Flesh foi um dos pontos de partida para a construção do espetáculo. Embodied sugere relações com o pensamento científico atual. Os padrões organizativos e estruturais da cena mostram-se conectados com as hipóteses filosóficas apontadas pelos autores Lakoff e Johnson, que propõem a mudança paradigmática sobre a natureza da razão, afirmam o conceito de pensamento metafórico, a incorporação da mente (embodied mind) e sugerem, ainda, que o pensamento, assim como as ações, decorrem do sistema sensório-motor, porém se manifestam de maneiras diferentes. A cognição é o espaço onde o corpo, o ambiente e o cérebro estão acoplados densamente. Desta maneira, a metáfora torna-se uma importante ferramenta cognitiva. Nesta pesquisa, são identificadas três metáforas principais usadas pelos dançarinos durante o espetáculo: o corpo-coisa, o corpo-embate e o corpo-pornô. Observa-se que tais metáforas se estabelecem através de manipulações entre um corpo e outro, do campo de forças criado entre os corpos dos dançarinos, caracterizado por relações de polarização, relações diádicas e vetores de ação de movimento que não tem necessariamente continuidade de um corpo para o outro. As metáforas dançadas apontadas na pesquisa atuam o tempo todo durante o espetáculo e se estruturam nos conceitos de experiências e julgamentos subjetivos dos intérpretes. Observa-se que os dançarinos estão sugerindo metáforas como estratégias de pensamento e ação e que eles atuam como agentes metafóricos que compreendem e experimentam uma coisa em relação à outra. A análise buscou examinar possibilidades de relações entre os conhecimentos artísticos e científicos por acreditar serem sutis as interfaces entre essas duas áreas de conhecimento.
This research work aims to analyse the Embodied performance from Cristian Duarte, by using the theoretical foundation of the Embodied Cognitive Science for the study of the metaphors, which have previously been proposed by George Lakoff and Mark Johnson in their publications in 1999 (Philosophy in the Flesh-The Embodied Mind its Challenge to Western Thought) and 2002 (Methaphors we live by). The initiative to carry out a choreographic analysis based on the relationship between dance and science was undertaken in view of the fact that the book Philosophy in the Flesh was one of the starting points for the creation of the performance. Essentially, Embodied suggests relationships between the performance and the current scientific thinking on cognition. Moreover, the organisational and structural patterns of the scenes can be considered connected to the philosophical hypothesis pointed out by the authors, Lakoff and Johnson, who have proposed a paradigm change in the nature of reasoning by surrounding the metaphor concept of thinking with the incorporation of the mind (embodied mind). They suggest that thoughts, as well as actions are produced by the sensory motor system, but manifested in different ways. Cognition is the space where the body, its surroundings, and the mind are tightly joined together. Therefore, the metaphor becomes an important cognitive instrument. In this research work, three main metaphors are used to represent the ballet dancers during the Embodied performance. They are body-thing, body-collision, and body-porno. The research has revealed that the collisions between bodies, and the force field created by them, establish the metaphors that are characterised by polarised relations of actions, which do not necessarily demonstrate continuity from one body to another. In addition, the three metaphors identified in this research, are put into action at every point in time of the performance. They are structured on the basis of the experiences and subjective judgements of the interpreters. Finally, this research demonstrates that the ballet dancers are applying these metaphors as strategies of thoughts and actions. They actually perform as metaphor agents who understand and experiment one thing in relation to another. In conclusion, this analysis has shown the possible relationship between artistic and scientific knowledge, since the interfaces between these two realms of knowledge are analogous.
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Brandberg, Ida. "Partiklarnas dans : En studie om kemi och dans som estetisk lärprocess i förskolan." Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68271.
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Syftet med denna studie är att öka kunskapen om hur dans som estetisk lärprocess kan påverka barns förklaringar om uppfattningen kring materiens oförstörbarhet utifrån en lösningsprocess. I en semistrukturerad gruppintervju fick barnen förklara samma kemiska fenomen både före och efter att de fått gestalta fenomenet genom dans. Dansen i studien gestaltade partiklarnas rörelse utifrån lösningsprocessen och avdunstningen. Resultatet visade att barn använder sig av tre olika typer av förklaringsmodeller för att förklara det kemiska fenomenet. De tre förklaringsmodellerna är naturvetenskapliga, animistiska och magiska förklaringsmodeller. Undersökningen visar att andelen naturvetenskapliga förklaringsmodeller ökade efter dansaktiviteten. Studien tyder på att dans som estetisk lärprocess kan gynna barns lärande när det gäller kemiinnehåll i förskolan.The aim of this study is to increase knowledge about how dance as aesthetic learning process can affect children's explanations of the perception of the matter indestructibility based on a solution process. In a semi-structured group interview, the children were able to explain the same chemical phenomena both before and after the gestation of the phenomenon through dance. The dance in the study portrayed the movements of the particles based on the solution process and evaporation. The result showed that children use three different types of explanation models to explain the chemical phenomenon. The three explanatory models are natural science, animistic and magical explanatory models. The survey shows that the proportion of scientific explanatory models increased after the dance activity. The study suggests that dance as an aesthetic learning process can benefit children's learning in terms of chemistry content in preschool.
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Farrelly, Jane, University of Western Sydney, of Arts Education and Social Sciences College, and School of Contemporary Arts. "Dance and healing." THESIS_CAESS_CAR_Farrelly_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/804.
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Dance consciously or unconsciously can by its very creative process from idea or feeling through to performance work and beyond, form a catalyst for healing. This paper provides a written record of a practical, phenomenological, qualitative, dance and healing research project. The researcher’s ideas coalesce from three schools of thought. They are health sciences, dance art and faith. Body sciences and homeopathic theory inform the practice of exploratory contemporary dance improvisation. Wholistic and ethical methods of research practice are applied to the study of a range of dance and health concernsMaster of Arts (Hons) (Contemporary Arts)
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Shindler, Nicholas. "Feature Assessment for the Analysis of Latin Dance Modeling Two-Person Dance with Machine Learning." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-84466.
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Lawton, Marc. "A la recherche du geste unique : pratique et théorie chez Alwin Nikolaïs." Phd thesis, Université Charles de Gaulle - Lille III, 2012. http://tel.archives-ouvertes.fr/tel-00881517.
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Nikolaïs a prolongé la pensée de Laban et l'a enrichie en l'expérimentant sur les corps-mêmes des danseurs de sa compagnie. son approche s'est développée dans un va-et-vient constant entre les 'principles' et l'expérience sensible du corps dansant. les éléments de langage chorégraphique (qualités de 'motion', 'shape'...) et les outils pédagogiques de nikolaïs (décentrement, 'gestalt' ou totalité reconnaissable, triade technique-improvisation-composition...) se sont élaborés sans être soumis à un savoir théorique extérieur. Cet enseignement consiste à munir le corps et l'esprit d'un savoir et d'une conscience immédiate des facteurs entrant en jeu dans le mouvement dansé. L'étude tendra à affirmer que là où il y a pédagogie, il y a théorie. la 'theory' est chez Nikolaïs un moment d'investigation à travers l'improvisation où concept, chorégraphie et performances sont instantanés. l'improvisation, un des éléments-clés de la modernité en danse, semble donc représenter le processus privilégié où pratique et théorie se confondent ou se vérifient l'une l'autre. Par ailleurs, sera aussi questionnée la prétendue "universalité" des outils et éléments de syntaxe de Nikolaïs, par l'analyse du contexte particulier des années 1950 (historique, socio-politique, artistique et technologique) et l'idéologie très liée à la personnalité de son créateur et à l'engouement qu'il a suscité. On se propose donc de déconstruire le modèle en empruntant une troisième voie au-delà de l'héritage fidèlement entretenu ou rejeté pour tenter, en contrant la présence diffuse de cet enseignement en France, une réhabilitation et une analyse qui questionneront la pertinence et les enjeux de cette pensée aujourd'hui.
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Raguz, Christopher. "Paranoid Epistemologies: Essays on Thomas Pynchon and the Scene of Disappearance." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2118.
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The following five essays are connected by their reference to a scene – imagined by the author Thomas Pynchon. The disappearance of historical cause, the subject, and the human constitute this epistemological scene. Each essay can be read without logically building off of any other – yet they form a wider assemblage of interpretative theory. These are fragments capable of recombination in any order. They shun systematization but welcome kinship. Pynchon's fiction is the substrate underlying each. Abstract machines of theorists thinking on similar wavelengths are used as catalysts in an effort to force a reaction – an attempt to transmute the stories of paranoid schlemihls into yet more paranoid epistemologies.
How do we understand the degree to which we are organized by whatever systematizes? How do we relate to whatever organizes our knowledge, our identities? What, exactly, is playing us? These are the anxieties these essays share with Pynchon's characters and formulate the questions driving their theory. Call it the Post-Modern, the Post-Human, or any other Post, Pynchon anticipated its event horizon half a century before its more obvious implications made themselves clear. If we have passed fully over this horizon, figuring out where we are and what's going on has become a question of survival, and Pynchon's anticipation of our contemporary scene have become increasingly salient. These essays offer paranoid epistemologies for the age of disappearance.
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Tuttle, Kimberly. "An Analysis of California Drug Courts: Why Drug Treatment Programs Should Have Teeth." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/cmc_theses/2124.
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Since the passing of Proposition 47 in California in 2014, drug court programs across the state have invariably undergone changes. In my thesis, I evaluate the drug court programs of three counties in Southern California: Orange County, Los Angeles County, and Riverside County. Through a qualitative analysis of the drug court programs in these counties, via interviews, data collection, and courtroom observation, I provide insight into the functionality of each county's program, as well as an analysis of the effects of Proposition 47. This paper aims to address the key factors involved in maintaining a functional and successful drug court system.
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Culbreth, Mair Wendelin. "Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.
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Naone, Erica (Erica Beth Aana). "The dancer in nature." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42150.
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Thesis (S.M. in Science Writing)--Massachusetts Institute of Technology, Dept. of Humanities, Graduate Program in Science Writing, 2007.Includes bibliographical references (leaves 29-31).
A rich body of science has grown up around the art of dance. It includes study of a dancer's relationship to Newtonian physics, dance medicine, the role of the spine in balance, and the emerging study of the neuroscience of dance. The thesis integrates personal narrative and descriptions of dance performances with scientific discussion of the art form. Greater scientific understanding of the art of dance is needed in order to improve teaching practices and decrease injuries to dancers.
by Erica Naone.
S.M.in Science Writing
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Styrke, Britt-Marie. "Utbildare i dans : perspektiv på formeringen av en pedagogutbildning 1939-1965." Doctoral thesis, Umeå universitet, Institutionen för idé- och samhällsstudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-33018.
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This thesis describes and theoretically illuminates perspectives on the formation of a dance teacher education in Sweden during the period 1939–65. The process is explored mainly through the visions and activities of Svenska Danspedagogförbundet, SDF (The Swedish Dance Teacher Association). Particular attention is paid to specific instances which eventually could lead toward the establishment of a government-sponsored educational program. The work is both chronologically and thematically arranged in order to enlighten time specific turning points that also encompass three major themes which can be seen as initiation, expansion and establishment. These themes summarize the problems my investigation zeroes in on. The chronological framework is bounded by the foundation of the SDF in 1939, and the first year of classes at the new pedagogical section of Koreografiska Institutet, KI (the Choreographic Institute) in 1964–65. The study focuses on the intersection of aesthetic, educational, and professional transformative processes which also includes the international field of dance. More specifically the study explores the initial process gathering practitioners in a professional association, which could lead both to unionization and the establishment of an education. As far as professional and educational questions are concerned the process toward establishing a system of dance teacher education followed a general growth and organization of the Swedish educational system as a whole. The educational alternatives which evolved between 1959 and 1965 corresponded to both internal and external needs, especially by exposing the lack of a competent corps of teachers. The study examines how these alternatives collaborated and competed with one another for a relatively short time. Though lines of contention were drawn between leading actors this work also illuminates how the profession and the art itself acquired increased status in a broader cultural context. The vision of modernizing the art of dance along with its pedagogy is shown to be as much about pedagogic matters as about aesthetic ideals. Regardless of actual differences and approaches to aesthetics and education the process was guided toward the establishment of a dance teacher education.
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Goodall, Harrison M. III. "The Effect of Inversion and Motor Expertise on Body Compatibility." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/159.
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Previous studies have established that when a subject’s attention is directed to a specific body part, the subject is able to move that body part faster than a body part their attention was not drawn to. This is known as the body compatibility effect, and it has been shown that this effect only occurs when viewing upright images of the human body. In this study, we presented control subjects and expert acrobats with inverted and upright stimuli. We hypothesized that the amount of time the acrobats spent inverted would result in the acrobats exhibiting body compatibility effects for both upright and inverted stimuli. Compatibility effects were observed in the upright condition for both groups, but neither group exhibited any compatibility effects in the inverted position. Unexpectedly the acrobats responded significantly faster to incongruent trials compared to the control subjects, leading to the conclusion that there must be some form of priming occurring concurrently with the body compatibility task allowing the acrobats to respond faster than the control participants.
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Murrock, Carolyn J. "DANCE AND PHYSICAL ACTIVITY IN AFRICAN AMERICAN WOMEN." Case Western Reserve University School of Graduate Studies / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=case1159901402.
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Stenquist, Nathalie. "Normkritisk analys av pardans." Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-33615.
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I denna uppsats undersöks erfarenheterna och attityderna som sex pardansare har kring heteronormativitet inom dansen. Deras tankar kring olika roller och betydelser kring danserna fångas upp i intervjuer och tolkas och analyseras sedan via queerteorin och det dramaturgiska perspektivet som utgångspunkten i analysen av sociala situationer. Resultaten visar att heteronormativiteten lever inom sporten pardans via traditioner från förr och de regleringar som finns idag men också genom de attityder som ungdomarna besitter och uttrycker. Dansarna själva uttryckte sig om att förändring inom dansen kan rubba dansen värdegrunder och göra sporten till något helt annat än vad den alltid har varit.Pardansen har inte ofta varit objekt för forskning vilket medfört att jag förlitar mig på mina intervjuer och väljer att göra en icke generaliserbar uppsats då det är erfarenheter, individuella tankar och tolkningar står som grund för min analys. Jag har även plockat alla dansare från samma klubb vilket har genererat till att de har haft liknande svar till den del frågor vilket kan tänkas leda till deras tränare som jag därefter har intervjuat med andra frågor.Min slutsats är den att pardansen i sig ses som en feminin sport men utövar heteronormativa värden som präglar dansarna då det enligt utövarna är otänkbart att hålla kvar vid dansens värdegrunder och samtidigt dansa samkönat på elitnivå. Pardansenarna i denna skåneförening har en heteronormativ syn på dansen och dess betydelse som idrott och kulturbevarande aktivitet.This thesis explore the experiences of heteronormativity of six ballroom dancers. Their own thoughts on different roles and meaning behind the dances have been captured in interviews. Later translated and analysed through Queer theory and Erving Goffmans dramaturgical perspective theory where he enlightens us about his perspective on social situations as performances based upon the conviction of persuasion. Discovering that heteronormativity lives within the sport as traditions from past times and upheld by rules and guidelines, and attitudes expressed by the dancers. The dancers themselves agree on changing the rules of the sport is making the meaning of ballroom dancing less accurate matching the history of the sport which seems to be the pillar of ballroom dancing. Heteronormativity is the main subject of this thesis.
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Downie, Marc (Marc Norman) 1977. "Choreographing the extended agent : performance graphics for dance theater." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/33875.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (v. 2, leaves 448-458).
The marriage of dance and interactive image has been a persistent dream over the past decades, but reality has fallen far short of potential for both technical and conceptual reasons. This thesis proposes a new approach to the problem and lays out the theoretical, technical and aesthetic framework for the innovative art form of digitally augmented human movement. I will use as example works a series of installations, digital projections and compositions each of which contains a choreographic component - either through collaboration with a choreographer directly or by the creation of artworks that automatically organize and understand purely virtual movement. These works lead up to two unprecedented collaborations with two of the greatest choreographers working today; new pieces that combine dance and interactive projected light using real-time motion capture live on stage. The existing field of"dance technology" is one with many problems. This is a domain with many practitioners, few techniques and almost no theory; a field that is generating "experimental" productions with every passing week, has literally hundreds of citable pieces and no canonical works; a field that is oddly disconnected from modern dance's history, pulled between the practical realities of the body and those of computer art, and has no influence on the prevailing digital art paradigms that it consumes.
(cont.) This thesis will seek to address each of these problems: by providing techniques and a basis for "practical theory"; by building artworks with resources and people that have never previously been brought together, in theaters and in front of audiences previously inaccessible to the field; and by proving through demonstration that a profitable and important dialogue between digital art and the pioneers of modern dance can in fact occur. The methodological perspective of this thesis is that of biologically inspired, agent-based artificial intelligence, taken to a high degree of technical depth. The representations, algorithms and techniques behind such agent architectures are extended and pushed into new territory for both interactive art and artificial intelligence. In particular, this thesis ill focus on the control structures and the rendering of the extended agents' bodies, the tools for creating complex agent-based artworks in intense collaborative situations, and the creation of agent structures that can span live image and interactive sound production. Each of these parts becomes an element of what it means to "choreograph" an extended agent for live performance.
Marc Downie.
Ph.D.
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Moen, Jin. "KinAesthetic Movement Interaction : Designing for the Pleasure of Motion." Doctoral thesis, Stockholm, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-608.
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Quinn, Mallory J. "An Evaluation of the POINTE Program to Guide Dance Instructors to use Behavioral Coaching Procedures with their Dance Students." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6932.
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This study evaluated the POINTE Program, a manualized behavioral intervention designed for use by dance instructors to improve student dance performance using behavioral coaching procedures. This study consisted of three phases. Phase 1 was a formative evaluation of the POINTE Program, which assessed the technical adequacy of the manual. Feedback from 3 experts in Applied Behavior Analysis (ABA) and 4 dance instructors were used to improve the manual content in this phase. Overall, the experts and instructors viewed the POINTE Program as providing accurate information on the basic ABA backgrounds and suggesting behavioral coaching procedures appropriate for use in a training context to address the needs of dance students although certain terms and procedures needed clarification, and minimizing ABA terms and creating videos were required based on their feedback before conducting Phase 2 evaluation. In Phase 2, the feasibility of the POINTE Program was examined with 4 instructors and their 4 students using a multiple-baseline design and structured individual interviews. The results indicated the dance instructors could assess their target student’s skills, select and implement a coaching procedure with fidelity, and monitor student progress without much difficulty. They suggested the provision of consultation in the form of performance feedback, addition of session scripts, and clarification over certain aspects of the coaching procedures following their use of the program. In the final phase, the potential efficacy of the refined POINTE Program was examined using a multiple-baseline design with 4 instructors and their 4 students, which demonstrated that dance instructors could successfully implement behavioral coaching procedures with a minimal feedback support through the use of POINTE Program components, demonstrating the feasibility and potential efficacy of the use of the POINTE Program by dance instructors to enhance student dance performance.
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Swinford, Rachel R. "Adapted dance - connecting mind, body and soul." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3610166.
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Using Heideggerian interpretive phenomenology, this study illuminates the lived experience of an adapted dance program for individuals with Down syndrome and their family members. The overall pattern from both dancers and family members was adapted dance: connecting mind, body and soul. The primary theme from dancer interpretations was expressing a mosaic of positive experiences, and the primary theme from family member interpretations was experiencing pride in their loved ones. The dance program provided dancers an opportunity to express their authentic self while experiencing moments of full embodiment in the connection of their mind, body and soul. While dancers experienced the connection of mind-body-soul, family members recognized the importance of this connection in their loved one. This research is instrumental in advocating for opportunities for individuals with Down syndrome to experience dance as a social, physical and intellectual activity that results in learning and increasing social interactions. The research findings from this study can support future initiatives for dance programs that may influence a population that has limited access to physical activity and dance. The study's teaching strategies, dance activities, class procedures and sequences, and feedback techniques can be used by other professionals who teach individuals with intellectual disabilities.
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Bryan, Alexandra E. "Effect of Fatigue on Muscle Contraction in Dancers Performing Drop Landings in Coupe." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1523461882235808.
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Verlinden, Elodie. "Danse et spectacle vivant: réflexion critique sur la construction des savoirs." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210146.
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La thèse aura pour objectif premier de relire les discours scientifiques sur la danse à travers quelques démarches considérées comme illustratives d’une discipline. Ce parcours a pour vocation seconde d’interroger les modes de construction de l’objet danse au sein des études en arts du spectacle vivant. Comment les sciences ont-elles pensé la danse ?Fallait-il penser la danse ?A travers quels questionnements peut-on appréhender la performance dansée sans englober un paradigme plus vaste ?Toutes problématiques qui conduisent non seulement à saisir de manière critique les regards sur la danse mais à élaborer un modèle propre qui pose à la fois la question de l’identité et des processus énonciatifs de la danse au sein du paradigme des « arts du spectacle vivant ».Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
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Cazemajou, Anne. "Le travail de yoga en cours de danse contemporaine. Analyse anthropologique de l'expérience corporelle." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2010. http://tel.archives-ouvertes.fr/tel-00632348.
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Cette recherche s'intéresse au travail de yoga, tel qu'il est enseigné à des adultes amateurs dans le cadre de l'enseignement de la danse contemporaine de Toni D'Amelio, à l'école Peter Goss (Paris 10e). C'est la nature de l'expérience corporelle vécue par les élèves ainsi que les modalités de sa construction qui font l'objet de cette analyse. Ancrée dans une approche anthropologique, elle se caractérise par l'utilisation de la technique de l'entretien d'explicitation - méthodologie inédite dans la recherche en danse - pour interroger l'expérience subjective des acteurs.Les propos des élèves ont fait émerger le rôle central des consignes, ainsi que la manière dont ce travail de yoga s'articule autour d'un " dispositif savant ", qui cristallise pour les élèves l'idée d'un savoir adéquat. Or, ce dispositif s'est avéré insuffisant pour expliquer la nature de l'expérience corporelle qu'il produit. L'étude met ainsi en évidence la manière dont ce dispositif est concrètement mis en œuvre et dont les consignes fonctionnent, dans la pratique, comme " embrayeurs d'action et de perception ". Enfin, l'analyse montre comment la parole de l'enseignante, à l'insu pour ainsi dire des élèves et d'elle-même, crée un véritable enchantement du dispositif.
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Farrar, Alexandria M. "Exploring Motivations Behind Food Choices of Collegiate Female Modern Dancers." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1491213244018103.
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Ruprecht, Carolena. "Analyzing the Wien filters for the DANTE ion accelerator." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/106694.
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Thesis: S.B., Massachusetts Institute of Technology, Department of Nuclear Science and Engineering, 2016.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (page 45).
Materials used in nuclear reactors, both fission and fusion, are continuously interacting with high energy ions. Tandem electrostatic accelerators, such as DANTE, are able to produce ions at high energies that can be used to simulate these interactions. In order to enhance the quality of experimental data taken using an accelerator, it is useful to ensure that the particles being accelerated are of the same species. Wien filters use electromagnetic forces to filter particles in an ion beam. Also referred to as mass selectors or velocity selectors, Wien filters operate on the principles of the Lorentz force in order to select ions of a certain mass while filtering out all others. The Wien filters in DANTE were modeled and tested in order to determine their effectiveness and ideal operating conditions. Experimental data was taken by varying the voltage applied to the Wien filters operating in DANTE. Preliminary results concluded that the Wien filters are able to steer the beam, as demonstrated by the impact of Wien filter voltage on the beam current through the accelerator. However, the experiment was inconclusive as to whether or not the Wien filters successfully filtered out unwanted ions. The settings applied during the experiment were then simulated with a model. For a deuterium beam, the model recommends voltage settings of 312 V and 341 V for the horizontal and vertical Wien filters, respectively. The model results are consistent with the experimental data. Recommendations for future work on this project are outlined following the results.
by Carolena Ruprecht.
S.B.
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Kilbourne, John R. "Building a bridge between athletics and academics." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1240496158.
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Abreu, Aracely. "Using Auditory Feedback to Teach Dance Skills to Adults with Intellectual Disabilities." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5894.
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The purpose of this study was to evaluate the use of auditory feedback for teaching individuals with intellectual disabilities the “Mississippi Cha Cha Slide.” Participants consisted of six males ages 35 to 61. During baseline, line dance skills were low for all participants. During the auditory feedback intervention, the trainer used a clicker to reinforce dance steps and forward chaining to chain movements into a sequence. Once auditory feedback was implemented, line dance skills increased substantially for all participants. Generalization assessments for four of the participants resulted in performance levels similar to baseline and demonstrate the need for future training with music. Follow up data collected for all four participants showed that dance skills were maintained.
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Domene, Pablo A. "Efficacy of Latin dance as a health-enhancing leisure activity for adults." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/34532/.
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Despite acceptance that physical activity serves as a protective agent against the burden of non-communicable disease, half of all adults in the developed world remain insufficiently physically active. The promotion of physical activity is therefore of paramount importance to public health researchers and practitioners. Dance, as a leisure or social activity, can play a role in the engagement of adults in physically active pursuits that are not necessarily thought of as traditional exercise per se. This is especially important for those individuals not currently meeting physical activity guidelines and is fully congruent with the current public health message that "some activity is better than none". A holistic exploration of Latin dance was undertaken in this thesis in the context of physical activity and psychosocial health promotion in non-clinical adults. The research encompassed a quantitative assessment of physiological and psychological measures related to dance. Over a 3 yr period, eighty-four women and men were enrolled in a series of four interrelated Latin dance (salsa) and Latin-themed aerobic dance (Zumba fitness) studies. Research grade motion sensing and heart rate monitors were used to evaluate the physiological responses to dance, and a novel activity-specific value calibration method was developed to process the data. The monitors, which are small and unobtrusive to wear, were then utilised for collection of data during performance of dance in naturalistic settings. Psychological measures associated with dance participation were captured using previously validated questionnaires. Results indicate that Latin dance elicits physiological responses representative of moderate to vigorous physical activity when performed primarily for leisure purposes. Modest improvements were observed post-dance in measures of cardiorespiratory fitness, body composition, and inflammatory biomarkers in relation to cardiovascular health. Moreover, participation fostered interest, enjoyment, and a positive psychological outlook, and enhanced well-being, mood, and health-related quality of life with large magnitude effects. The findings of this thesis may be relevant for researchers and practitioners interested in the efficacy of dance as an expressive and creative medium for the promotion of physical and mental health.
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Aylward, Ryan P. "Sensemble : a wireless inertial sensor system for the interactive dance and collective motion analysis." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/37391.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2006.Includes bibliographical references (p. 251-256).
The motivation for this project is the recent opportunity to leverage low-power, high-bandwidth RF devices and compact inertial sensors to create a wearable, wireless, motion analysis system meeting the demands of many points of measurement and high data rates. This thesis outlines the implementation of such a system intended for interactive dance, in which sensor nodes are worn on the wrists and ankles of dancers in an ensemble. Interactive dance is in some ways an ideal situation for pushing high performance requirements. Collecting data in a highly active environment of human motion demands a comfortable yet sturdy wearable design. Obtaining detailed information about the movement of the human body and the interaction of multiple human bodies demands many points of measurement and high resolution. Most importantly, using this information as a vehicle for interactive performance demands the real-time translation of data into an efficient feature set that a composer, designer, or choreographer can interpret. Now that it is possible to extend expressive motion sensing to multiple points on multiple dancers, an interactive system is capable of responding not only to individual motions, but also to how an ensemble is working together.
(cont.) The primary goal in this work is to demonstrate that simple features describing this type of collective activity can be extracted from the system and interpreted real-time, in order to generate responsive music or other immediate feedback. To this end, relevant strategies for feature extraction and music generation were implemented and tested, using data from a small dance ensemble. The results presented in this thesis show promising opportunities for future development in the areas of dance and interactive performance. In the broader scope, the hope is to expand this system to other applications, such as analyzing the dynamics of team sports, physical therapy, biomotion measurement and analysis, or personal physical training. Preliminary testing in these areas is also discussed.
by Ryan P. Aylward.
S.M.
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Kiefer, Adam. "Multi-Segmental Postural Coordination in Professional Ballet Dancers." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250045828.
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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.