Academic literature on the topic 'Dancer- Researcher'
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Journal articles on the topic "Dancer- Researcher"
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Cálipo, Nara, and Graziela Rodrigues. "Dancer–Researcher–Performer: A Brazilian Method." Congress on Research in Dance Conference Proceedings 2016 (2016): 38–40. http://dx.doi.org/10.1017/cor.2016.6.
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Brazil, a country of miscegenation, saw its culture being built considerably rich from the shock of the differences that were presented here throughout the history: indigenous people (first inhabitants), Europeans (coming from our colonizers), and Africans (through slave labor arising from Africa). The Brazilian method dancer–researcher–performer (BPI, or Bailarino–Pesquisador–Intérprete, in Portuguese) proposes the development of the dancer framed in popular manifestations in Brazil, where the subject first contacts its own origin and then performs field research in some popular manifestation. The experience is unfolded in directed practical labs, where the emotional records of this encounter, between the interpreter and the individuals in the field, are elaborated and developed reaching a very unique and expressive movement quality, coming from the subject in process.In the artistic product created in the BPI, the dancer does not interpret a character: the character is embodied; it lives what emerged from the body; it is a real interlacing and elaboration of the relationship of its country culture with artistic creation.The BPI leads the interpreter in an integrative way, going against the current trend in dance, in which the dancer must leave his or her body at the disposal of idealizations. We will describe a process of a BPI whose fieldwork took place with the Terecô agrarian religious manifestation, rural women who work as breakers of the babaçu coconut. The product of this process, which occurred with the author, was presented in the communities within the Amazon forest in Brazil.
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Nolton, Esther C. "Dancer Wellness. By M. Virginia Wilmerding and Donna H. Krasnow." Medical Problems of Performing Artists 33, no. 1 (2018): 72. http://dx.doi.org/10.21091/mppa.2018.1010.
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Dancer Wellness is a comprehensive text for dancers and dance educators to better understand health and wellness in the context of their craft. Though not intended for this purpose, this resource may also be a beneficial tool in allowing allied healthcare professionals to repackage knowledge that was obtained in a traditional (sports) medicine context to the otherwise unchartered world of dance medicine and science. As a former dancer turned sports medicine practitioner and researcher, I appreciate what this text has done to bridge the gap by transferring knowledge and skills across disciplines.
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N.N.W., Stuti, Ramendra D. P., and Utami I.A.M.I. "THE JARGONS USED BY BALINESE DANCER OF FEMALE AT SANGGAR SENI MANIK UTTARA." International Journal of Language and Literature 3, no. 2 (2019): 44. http://dx.doi.org/10.23887/ijll.v3i2.20831.
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This study aimed to know the form of jargons used by Balinese Dancer of female at Sanggar Seni Manik Uttara, to know the meaning of each jargons used by Balinese Dancer of female at Sanggar Seni Manik Uttara, and to know the function of Jargons used by Balinese Dancer of female at Sanggar Seni Manik Uttara. This study was designed by descriptive qualitative in which Sanggar Seni Manik Uttara chosen as the setting of the study. The main instrument of this study was the researcher itself which supported by the recorder, camera, interview guide and observation to collect the data. This study was supported by two subjects, the Instructor and student of Balinese Dancer who gave the researcher explanation about the meaning of the form of jargons used by Balinese Dancer of Female at Sanggar Seni Manik Uttara. From the explanation of the Instructor and student of Balinese Dancer, there are found 41 jargons which consists of 17 compounding, 2 reduplications, and10 Affixations of word formation process, then there are 10 nouns and 2 verbs of word classes. Those jargons were used to make the communication among the Balinese Dancer easier. Moreover, it can build the solidarity of each team when talk about the Balinese Dance.
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Costa, Elisa, and Graziela Rodrigues. "Creative Process in the Dancer–Researcher–Performer Method: The Relationship Between the Director and Performer." Congress on Research in Dance Conference Proceedings 2016 (2016): 81–85. http://dx.doi.org/10.1017/cor.2016.13.
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This work presents a previous analysis of the specificities of the relationship between director and performer that exists when using the dancer–researcher–performer method (BPI in Portuguese). BPI is a Brazilian dance creation method in which the performer lives an otherness experience through fieldwork in Brazilian cultural manifestations. In this method, the director acts as a midwife, facilitating the “birth” of a dance that already exists in the performer's body, generated from its encounter with the field.
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Nektarios, Peter Yioutsos. "Order in ancient Greek dance rituals: The dance of Pan and the Nymphs." Dramaturgias, no. 5 (October 27, 2017): 211–34. http://dx.doi.org/10.26512/dramaturgias.v0i5.8439.
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 Dance maintained an important role in antiquity and was believed to be a ritual act that should be treated and performed with the outmost respect, regardless of its severe or ludicrous character. Despite the lack of adequate data, ancient sources now and again provide enough details on dance rituals, so as to be able to recognize and even more reconstruct the structure and order of an ancient performance, the so-called “τάξις” of Alkman. The cult of Pan and the Nymphs was deeply connected to dance and music. They were mostly celebrated in outdoor shrines and sacred grottos throughout the Greek countryside. Numerous votive offerings depict the circular dance of these vegetation deities, a dance representation where the researcher can recognize specific roles amongst the participants: the dance leader, the principal dancer, the chain of dancers and the musician. Their position in the dance ensemble was ranked accordingly, however, sex, age, appearance, and social status were also determining factors always taken into consideration. 
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Ronai, Carol Rambo. "Sketching With Derrida: An Ethnography of a Researcher/Erotic Dancer." Qualitative Inquiry 4, no. 3 (1998): 405–20. http://dx.doi.org/10.1177/107780049800400306.
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Höfling, Ana Paula. "Pedagogy of the Possessed: re-thinking the Dancer-Researcher-Performer (BPI) method in dance curricula in Brazil." Revista Brasileira de Estudos da Presença 6, no. 2 (2016): 287–308. http://dx.doi.org/10.1590/2237-266058130.
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Abstract: This paper calls into question the central tenets of the Dancer-Researcher-Performer (BPI) method taught at the Universidade Estadual de Campinas (Unicamp) in Brazil. The analysis problematizes the underlying assumption that students lack an awareness of their own Brazilianness, which they must find through BPI, and questions a choreographic methodology where students are coached to be possessed by the dance. The paper draws attention to the power imbalances inherent in BPI's co-habitation experience, where students research marginal others who are understood as the source of authentic Brazilian culture. The paper invites BPI students and teachers to reconsider the ethics of this research methodology, and to consider the possibility of choreographic research that engages both mind and body critically and consciously.
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OLACAK, MÜGE. "The Contemporary Dance Field in Turkey in the Twenty-First Century." Theatre Research International 44, no. 3 (2019): 308–10. http://dx.doi.org/10.1017/s0307883319000373.
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Based on my experiences and observations as a dancer, performer, researcher and culture manager, this article aims to shine a light on the performing-arts field, particularly on contemporary dance, in Turkey in the twenty-first century. Given the current political, social and economic shifts in Turkey, which have doubtless affected artistic practice and structures, it is important to draw attention to and explore the emerging players in the field of dance – dance institutions, producers, artists and audience. In addition, it is necessary to create awareness about the new generation's efforts to develop the field in relation to new organizational and partnership structures, shifting from a vertical hierarchy to autonomous and collective working models.
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Gailīte, Elīna. "Tautas deju definēšanas problemātika mūsdienās Latvijā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 94–104. http://dx.doi.org/10.37384/aplkp.2021.26-2.094.
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The article “Problems of defining folk dance in Latvia today” examines the aspects that affect the current situation in Latvia, where folk dances are understood as both folk dances that have not been modified by choreographers, dances passed down through generations that can be danced every day, and stage folk dances, which are a type of art performed by folk dance ensembles, created by choreographers and dances adapted to the stage performance. The research aim is to identify and describe the problems that currently exist in the Latvian cultural space, where the definition of folk dances creates tension in the public space and ambiguous opinions among dancers. Nowadays, it is possible to identify such concepts as, for example, folk dance, ethnographic dance, authentic dance, traditional dance, folklore dance, folk dance, folk dance adaptation, field dance, folk ballet, etc. Consistent use of concepts is rarely seen in the documents and research of cultural policymakers and the historical and contemporary works of choreographers and researchers. Often they are only described in general terms. A survey conducted in 2019 shows that dancers consider stage folk dances to be folk dances, and often this separation of dances is not important for them. Another problem is the designation of folk dance ensembles where stage folk dance dancers are dancing. The term misleads; it suggests that folk dances are danced there. However, this designation is linked to its historical time of origin. It is not insignificant that the stage folk dance is more popular, more visible, and massively represented at the Song and Dance Festival. Thus, a part of the society associates it with our folk dances.
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Campos, Flávio, and Graziela Rodrigues. "Dance, Originality, and Otherness: The BPI Method and the Brazilian Cultural Manifestations." Congress on Research in Dance Conference Proceedings 2016 (2016): 41–45. http://dx.doi.org/10.1017/cor.2016.7.
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The purpose of this article is to investigate dancer-researcher-performer (BPI), the Brazilian method of dance composition that was created by professor Graziela Rodrigues in the 1980s. The article aims at showing how such practices are developed from the experience of a performer in relation to some popular manifestation such as a festivity or another cultural event. It also enables one to work directly with popular knowledge that is passed from “generation to generation.” The investigation offers a brief view of my doctoral studies in which I aim at analyzing the aesthetic specificities of this method.
Dissertations / Theses on the topic "Dancer- Researcher"
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Valardão, Sara Dias 1985. "Relações de risco : um processo criativo com adolescentes em situação de vulnerabilidade social a partir do Método BPI (Bailarino-Pesquisador-Intérprete)." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285201.
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Orientadores: Larissa Sato Turtelli, Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T17:13:47Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: O Método BPI (Bailarino-Pesquisador-Intérprete) possibilita o emergir de uma dança proveniente de um corpo que entra em contato com suas próprias origens culturais. Trata-se de um método de criação artística que propicia uma autodescoberta, que conecta o indivíduo consigo mesmo, fazendo surgir movimentos significativos para a própria pessoa e plenos de vitalidade. A proposta dessa pesquisa foi desenvolver um processo criativo a partir do Método BPI com adolescentes em situação de vulnerabilidade social, jovens de dez a quatorze anos, educandos da entidade CEPROMM - Centro de Estudos e Promoção da Mulher Marginalizada, localizada no Jardim Itatinga, zona confinada de prostituição, na região sudeste de Campinas-SP, procurando-se favorecer o desenvolvimento da identidade e autoestima de cada um dos participantes. O período para desenvolvimento e coleta de dados da pesquisa foi de um ano e meio, ou seja, três semestres, em atividades de duas a três vezes por semana. A abordagem foi fenomenológica, teórico-prática no caráter descritivo qualitativo, sendo que a descrição e análise de dados foram fundamentadas nos eixos e ferramentas do Método BPI. Ao final do processo criativo, conclui-se que as maiores conquistas obtidas foram, além dos aspectos relacionados às danças dos adolescentes, o significativo desenvolvimento alcançado por eles em termos de concentração, organização, reflexão e apropriação de si mesmos e do Método BPI<br>Abstract: The BPI (Dancer-Researcher-Performer) Method allows the emergence of a dance from a body that comes in contact with their own cultural backgrounds. It is a method of artistic creation that provides a self-discovery, connecting the individual with himself, giving rise to significant movements for self and full of vitality. The purpose of this research was to develop a creative process come from the BPI Method with adolescents in social vulnerability situations, young people between ten and fourteen years, students from Center for the Study and Promotion of Marginalized Women entity ¿ CEPROMM, located in Itatinga Garden, confined prostitution area in the southeastern region of Campinas-SP, seeking to biased the development of identity and self-esteem of each participant. The period for development and data collection of the research was one year and a half, that is, three semesters, in two or three times activities per week. The approach was phenomenological, theorical- practical in qualitative descriptive nature, and the description and analysis of data were based on the axes and the BPI Method tools. At the end of the creative process, it is concluded that the greatest achievements were, in addition to aspects related to the dances of adolescents, the significant development achieved by them in terms of concentration, organization, reflection and appropriation of themselves and the BPI Method<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Cunha, Fredyson Hilton Figueiredo. "Koborireboe : uma experiencia em dança com os indios Bororo da aldeia de Meruri em Mato Grosso." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285138.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T04:51:27Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Este trabalho de dissertação apresenta a experiência entre os índios Bororo da aldeia de Meruri, no estado de Mato Grosso, utilizando aspectos do Método Bailarino-Pesquisador- Intérprete (BPI), criado pela professora doutora Graziela Rodrigues. O BPI é um método de criação em dança, composto por três eixos fundamentais: o Inventário no Corpo, o Co- Habitar com a Fonte e a Estruturação da Personagem. No eixo do Co-Habitar com a Fonte foram realizadas cinco visitas à aldeia de Meruri, num processo de interação entre o pesquisador e os pesquisados. Concomitantemente às pesquisas de campo e os laboratórios, houve o aprofundamento dos sentidos e significados desta experiência. Possibilitou a experiência de uma dança viva em que as imagens, sensações, sentimentos e movimentos foram trabalhados no corpo do pesquisador. O BPI, como um método que não tem a dança centrada num corpo idealizado, mas que respeita as particularidades, proporcionou ao pesquisador mais que uma investigação em dança, uma experiência transformadora de vida; abrindo caminhos para refletir sobre a dança feita por um corpo real, penetrando nas várias camadas do corpo. No contato do pesquisador com os índios Bororo e o estudo do Método BPI, consolidou-se uma criação em dança.<br>Abstract: This paper presents an experience among the Bororo, a Brazilian indigenous people settled at the village of Meruri, in the Brazilian state of Mato Grosso, which made use of some aspects from the BPI Method (Dancer-Researcher-Interpreter Method) developed by professor Dr. Graziela Rodrigues. BPI is a method for creation in dance constituted by three fundamental axis: Inventory in the Body, Cohabiting with the Sources and Character Formation. In the Cohabiting with the Sources axis, five visits were made to the village of Meruri, in a process of interaction between the researcher and the researched people. As field research and laboratories took place, the senses and meanings of this experience were analysed to be seen from a deeper perspective. This led to a lively dance in which images, sensations and movements were kneaded in the body of the researcher. BPI, as a method that does not project a dance for an idealized body, but respects the particularities instead, has offered the researcher more than an investigation into dance. It has offered an opportunity for a transforming life experience and opened ways for a reflection into a dance that is done by a real body, and that penetrates all layers of the body. In the contact of the researcher with the Bororo and in the study of the BPI method, a creative process in dance has been consolidated.<br>Mestrado<br>Mestre em Artes
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Teixeira, Paula Caruso 1970. "A história das origens da criação do método Bailarino-Pesquisador-Intérprete (BPI) e do seu desenvolvimento no primeiro percurso da sua criadora (1970-1987)." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285215.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T12:05:53Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Este trabalho tem por finalidade principal desvendar como foram as origens da criação em 1980, do método de pesquisa e criação em dança Bailarino-Pesquisador-Intérprete (BPI) e do seu desenvolvimento no primeiro percurso da sua criadora (1980-1987), Graziela Rodrigues. Descobrir o que da sua formação em diversos métodos, sistemas e técnicas de dança e de teatro e em linguagens afins influenciou no BPI, bem como o que do contexto histórico da dança no Brasil dos anos 70 e 80. Para responder à essas indagações, a autora fez pesquisas bibliográficas e documentais, mas, sobretudo, pesquisas de campo, através da realização de dezoito entrevistas semiestruturadas inclusive com a própria criadora do BPI e o restante, na sua maioria, com artistas que trabalharam e conviveram com ela no período histórico de 1970-1987. Após a análise dessas entrevistas e o levantamento das suas categorias, dialogou os dados relevantes coletados de campo com os dados bibliográficos e documentais. Assim, a discussão desta tese revela novos dados sobre a história da dança no Brasil no período histórico estudado e sobre a história deste método, das suas origens, do seu nascimento até 1987. Depois dessas reflexões, a autora chegou a algumas conclusões, sendo que a principal é que por mais que o BPI ressoe o espírito dos anos 70 e 80 na história da dança no Brasil, ele apresenta uma originalidade em relação aos métodos, sistemas e técnicas que contribuíram para a formação da sua criadora<br>Abstract: The main purpose of this work is to disclose how the origins of the creation of the method of research and creation in (DRI) Dancer-Researcher-Interpreter in 1980 were and of its development in the first course of its creator (1970-1987), Graziela Rodrigues. Also discover what, from her education in several dance and theater methods, systems and techniques and in related languages, influenced the DRI, as well as what from the historical context of dance in the Brazil of the 1970¿s and 1980¿s. In order to answer these questions, the author made bibliographic and documentary research, but above all, fieldwork by having eighteen semi-structured interviews, including with the creator of DRI and the rest, mostly with artists who worked and lived with her in the historical period from 1970 to 1987. After analyzing these interviews and the gathering of its categories, she dialogued the relevant data collected from the field with the bibliographical and documental data. Therefore the discussion of this thesis reveals new data on the history of dance in Brazil in the historical period studied and on the history of this method, its origins and its birth until 1987. After these reflections, the author came to some conclusions and the main one is that to whatever degree the DRI resounds the spirit of the 70s and 80s in the history of dance in Brazil, it shows an originality in relation to the methods, systems and techniques which contributed to the education of its creator<br>Doutorado<br>Artes da Cena<br>Doutora em Artes da Cena
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Floriano, Mariana 1985. "O Método BPI para criança : considerações acerca de uma prática corporal realizada com crianças de 7-8 anos." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284997.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-26T18:44:17Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: Este projeto intitulado "O Método BPI para criança: considerações acerca de uma prática corporal com crianças de 7-8 anos" é fruto de uma pesquisa de criação e formação no Método Bailarino-Pesquisador-Intérprete (BPI). O projeto teve por objetivo desenvolver uma prática corporal no Método BPI para crianças, considerando aspectos do desenvolvimento humano, principalmente os estudos de imagem corporal e de psicomotricidade. Como procedimento, foram realizados 27 encontros com 10 crianças na faixa etária de 7-8 anos no Colégio EDUCAP da Cidade de Campinas, nos quais foram aplicadas as seguintes ferramentas do Método BPI: Técnica de Dança, Técnica dos Sentidos, Laboratórios Dirigidos e Registro, ambientados pela temática dos festejos de Boi. Como principal estratégia de aproximação e de identificação com as crianças foram apresentadas cenas de um roteiro coreográfico da personagem Menina. Essa personagem foi resultante de um processo criativo no Método BPI, anterior ao Mestrado, vivenciado no corpo da pesquisadora. Após a atividade com as crianças, foram organizados os registros audiovisuais coletados durante os encontros e os diários de pesquisa da pesquisadora sobre a atividade, e realizados laboratórios corporais da pesquisadora dirigidos pela Prof.ª Dr.ª Graziela Rodrigues. Os dados obtidos apresentam resultados positivos para o desenvolvimento corporal do grupo de crianças participantes, levantando discussões sobre a importância de serem desenvolvidos o imaginário e a criatividade, aspectos bastante atrofiados neste grupo de crianças. Outro ponto de discussão envolve as reverberações no corpo da pesquisadora a partir da sua atuação como diretora no trabalho com as crianças, destacando o desenvolvimento pessoal e artístico enquanto aprendiz do Método BPI. As conclusões revelam aspectos fundamentais no Processo BPI para crianças: o brincar, no sentido pleno, como ponte para o desenvolvimento corporal das crianças e o preparo do diretor para conduzir uma prática corporal com crianças, que envolve a sua própria reconexão com a criança que ele foi. Esta pesquisa foi aprovada pela Comissão Nacional de Ética em Pesquisa ¿ CONEP ¿ e foi financiada pela Fundação de Amparo à Pesquisa do Estado de São Paulo ¿ FAPESP<br>Abstract: This Project named "The BPI Method for children: considerations over a body practice with 7-8 years old children" is a research of creation and training at the Dance-Researcher-Performer (BPI) Method. The aim of the project was to develop a body practice at the BPI Method for children, considering human developments aspects, specially those among body image and psychomotor. As a procedure, it was made 27 encounters with 10 kids among 7-8 years old of the Colégio EDUCAP School at Campinas city, in wich were applied BPI Method tools: Dance techniques, Senses Techniques, Registers and Conducted Laboratories, acclimatized by the Boi Celebration theme. As main goal of approaching and identification with children, it were shown scenes of a choreographic script of Menina¿s character. This character was the result of a creational process at the BPI Method, before the Master¿s degree, experienced in the researcher¿s body. After the activity with the children, the organization of the collected video records and the research diaries were made over the activity. Furthermore the researcher made body practice laboratories, directed by the Graziela Rodrigues, Dr. Prof. The data obtained indicates positive results for the children¿s body development, raising discussions over the importance of developing the imagination and creativity, aspects very stunted in this group of children. Another point of discussion involves the reverberations in the researcher¿s body from her work as a director of the group of children, highlighting the artistic and personal development as apprentice at the BPI Method. The deductions indicates fundamental aspects at the BPI Process for children: the play, in its full sense, as a bridge for the body development of the children and the director¿s prepare to conduct a body practice with children, that involves his own reconnection with the child he has been once. This research was approved by Comissão Nacional de Ética em Pesquisa ¿ CONEP ¿ and was funded by Fundação de Amparo à Pesquisa do Estado de São Paulo ¿ FAPESP<br>Mestrado<br>Teatro, Dança e Performance<br>Mestra em Artes da Cena
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Melchert, Ana Carolina Lopes 1971. "A descoberta da cultura velada e dos gestos vitais = um aprofundamento no eixo Inventário no Corpo do Método BPI (Bailarino-Pesquisador)." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284979.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T09:11:00Z (GMT). No. of bitstreams: 1
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Previous issue date: 2010<br>Resumo: Esta pesquisa teve por finalidade aprofundar o eixo Inventário no Corpo do Método Bailarino- Pesquisador-Intérprete (BPI), através de sua aplicação a um grupo de alunos voluntários, com o intuito de verificar o grau de incidência e o modo de ocorrência dos seguintes itens: a rejeição à cultura brasileira (manifestações populares brasileiras), a descoberta da cultura velada e a descoberta dos gestos vitais. Os sujeitos desta pesquisa foram estudantes universitários dos seguintes institutos e faculdades da Universidade Estadual de Campinas: Instituto de Artes, Instituto de Filosofia e Ciências Humanas e Faculdade de Educação Física. Este projeto foi aprovado no Comitê de Ética em Pesquisa da Faculdade de Ciências Médicas da Unicamp (Parecer CEP No. 679/2008). No eixo do Inventário no Corpo tem-se um contato com as ferramentas do Método BPI e são desenvolvidas inúmeras atividades para a busca de dados sobre a história cultural e social. A pesquisa realizada começou a revelar aos sujeitos participantes dados das suas culturas veladas, que, ao serem assumidos, promoveram o enfrentar os sentimentos de rejeição à cultura brasileira. O desenvolvimento do processo fez com que os sujeitos tivessem maior contato consigo mesmos e começassem a descobrir os seus gestos vitais, que são a porta de entrada para uma produção artística de qualidade. O desenvolvimento do Inventário no Corpo trabalhou com uma visão fenomenológica do corpo e uma visão integrada da dança, onde os aspectos físicos, afetivos, culturais e sociais foram contemplados conjuntamente. Os instrumentos para coleta de dados foram os Questionários Aplicados, os Corpos na Argila, os Relatos dos Dojos e as Sínteses Práticas. Utilizamos a Estrutura do Fenômeno Situado para analisar os Questionários aplicados. Para os trabalhos corporais e para os Corpos na Argila utilizamos a Análise de Conteúdo, dialogando com uma Análise de Expressão, a partir da Estrutura Física e da Técnica dos Sentidos do Método BPI. O desenvolvimento do eixo Inventário no Corpo do Método BPI promoveu, aos sujeitos desta pesquisa, o estabelecimento de um processo corporal, que os possibilitou: assumir suas origens, se redescobrir como brasileiro, ampliar os referenciais socioculturais, liberar a expressão do corpo, abrir um processo criativo, assumir a identidade do corpo e gerar uma dança integrada e original<br>Abstract: This research aimed to deepen the axis Inventory in the Body Method Dancer-Researcher-Performer (DRP), through its application to a group of student volunteers, in order to ascertain the degree of incidence and mode of occurrence of the following items: the rejection of Brazilian culture, the Discovery of culture veiled and the discovery of vital gestures. The subjects were college students from the following institutes and faculties of the University of Campinas, Institute of Arts, Institute of Philosophy and Humanities and Faculty of Physical Education. This project was approved by the Ethics Committee of the School of Medical Sciences (CEP Opinion No. 679/2008). In the axis Inventory in the Body one has a contact with the tools of the DRP Method and are developed numerous activities to search for data on social and cultural history. The research began to reveal to the subjects participating data veiled from their cultures, which are assumed to have promoted the deal with feelings of rejection to the Brazilian culture. The development process has brought to the subjects a greater contact with themselves and the begin of discovering of their vital gestures, which is the entrance door to an artistic production quality. The development of the Inventory in the Body worked with a phenomenological view of the body and an integrated vision of dance, where the physical, aff ective, cultural and social rights were dealt with together. The instruments for data collection were the Questionnaires, the Clay Bodies, the Dojos Reports and the Summaries Practices. We use the Structure Situated Phenomenon to analyze the Questionnaires applied. To work for the body and Bodies in Clay used the Content Analysis, talking with an Expression Analysis, through the DRP Physical Structure and Technical Senses. The development of the body axis Inventory in the Body Method DRP promoted to the subjects of this research, the establishment of a body process, which enabled them, to take their roots, to rediscover herself as a Brazilian, broadening the socio-cultural references, to release the body expression open for a creative process to assume the body identity and generate an integrated and original dance<br>Doutorado<br>Artes Cenicas<br>Doutor em Artes
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Cálipo, Nara 1987. "Coabitares no corpo da bailarina-pesquisadora-intérprete = as mulheres quebradeiras de coco babaçu e o seu terecô = Cohabitations in the dancer-researcher-performer body : the female babassu coconut breakers and their terecô." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284571.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T14:24:32Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O objetivo central desta pesquisa foi gerar estudo e análise do desenvolvimento do bailarino-pesquisador-intérprete que já concluiu um processo artístico no método BPI (Bailarino-Pesquisador-Intérprete). A pesquisa se deu a partir da análise da confluência dos conteúdos vivenciados no corpo deste intérprete, na realização de pesquisas de campo no eixo Co-Habitar com a Fonte. A inquietação para a presente pesquisa originou-se no processo anterior, pois a incorporação da personagem Jura, a força que ela trouxe para meu corpo, e a maneira como este passou a criar e se expressar, levaram-me ao questionamento: "quando deixar de dançar 'A Flor do Café', e passar para um novo co-habitar, o que poderá acontecer com Jura? Ela deixará de existir? Se transformará? Como será a interação dos conteúdos no corpo?". A pesquisa de mestrado veio como uma oportunidade para experimentar essa transição e interseção de processos corporais, analisando-os e trazendo-os à tona.!Para tanto, foram realizadas quatro idas a campo do eixo Co-habitar com a Fonte, em campos de qualidades corporais distintas: duas delas no Jalapão, e duas no Bico do Papagaio, ambas regiões do Tocantins. No Jalapão, o foco do co-habitar se deteve nas mulheres artesãs do Capim Dourado, e algumas das manifestações que permeiam seu universo, como a brincadeira da Roda-Chata e a reza da sexta feira da Paixão, junto à Festa dos Caretas (personagens denominados "fantasmas"). No Bico do Papagaio, o foco esteve nas mulheres quebradeiras de coco babaçu e no Terecô, manifestação religiosa agrária, presente no cotidiano destas<br>Abstract: The objective of this research was to study and analyze the development of dancer-performer-researcher who has previously passed through an artistic process in the DRP method (Dancer-Researcher-Performer). The research took place from the analysis of the confluence of contents experienced in the body of this interpreter, while she was in research field on axis Co-Inhabiting with the Source. The concern for this research originated in the previous process, because the incorporation of Jura character, the strength she brought to my body, and the way it went on to create and express themselves, they took me to the question: "when I stop dancing 'The Flower of Coffee', and move to a new co-dwelling, which may happen to Jura? Will she cease to exist? Will she transform into a new character ? How will be the interaction of the contents in the body? ". The master's research came as an opportunity to experience this transition and intersection of body processes, analyzing them and bringing them to light. To do so, there were four trips to the field on axis Co-Inhabiting with the Source, in different fields of body qualities: two of them in Jalapao, and two in Bico do Papagaio, both regions of Tocantins. At Jalapao, the co-inhabiting was focused on women artisans that work with golden grass, and some of the manifestations that permeate their universe, as the play of Roda-Chata, the prays of the Good Friday, and the Festa dos Caretas (characters called "ghosts"). In Bico do Papagaio, the focus was on female babassu coconut breakers and Terecô, a agrarian religious manifestation, present in the daily life of them<br>Mestrado<br>Artes da Cena<br>Mestra em Artes da Cena
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Costa, Elisa Massariolli da 1985. "Dançar para a Fonte Xavante = uma experiênciabailarino-pesquisador-intérprete de retorno à Terra Indígena Pimentel Barbosa = Dancing to the Xavante Source: a return experience of the dancer-researcher-performer to the Pimentel Barbosa Indigenous Territory." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284599.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T10:14:16Z (GMT). No. of bitstreams: 2
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Previous issue date: 2012<br>Resumo: O objetivo desta pesquisa consistiu em aprofundar-se na fase do Método Bailarino- Pesquisador-Intérprete (BPI) que denominamos de Retorno ao Campo. Essa fase consiste em levar o espetáculo, resultante do processo ocorrido dentro do BPI, ao campo onde foi realizado o Co-habitar com a Fonte para a criação cênica, eixo do Método no qual o bailarino faz uma pesquisa de campo em alguma manifestação cultural ou nicho social brasileiro. A fase do Retorno ao Campo, neste projeto, deu-se por meio da realização de quatro apresentações do espetáculo "Nascedouro" em três diferentes aldeias da Terra Indígena de Pimentel Barbosa, de etnia Xavante, no Norte do Estado do Mato Grosso. "Nascedouro" é resultado de pesquisas de Iniciação Científica no Método BPI, enfocando a etnia Xavante, com a direção da profa. dra. Graziela Rodrigues e interpretação de Elisa Costa. Para a experiência de retornar "Nascedouro" à sua Fonte, intérprete e diretora estiveram nas terras xavante. Fazia parte dos objetivos buscar, por meio do Retorno ao Campo, abertura, comunicação e troca suficientes para proporcionar a intervenção dos pesquisados, gerando um processo de interação, o que, de fato, aconteceu. Após ocorrida a fase do Retorno ao Campo, houve novos laboratório dirigidos, para elaborar cenicamente as reverberações resultantes dessa interação, que resultou em uma performance e também em novas apresentações de "Nascedouro", incorporando os novos sentidos apurados do diálogo entre os Xavante e o espetáculo. Concluímos, após todo esse percurso, que o Retorno ao Campo, no Método BPI, gera identificação e espelhamento com os pesquisados, promove o desenvolvimento do intérprete e também o desenvolvimento do espetáculo, proporcionando inclusive a criação de novos produtos cênicos. Concluímos, também, que uma relação de sintonia e confiança entre diretor e intérprete é essencial para que os processos no Método BPI sejam bem sucedidos<br>Abstract: The aim of this research has been to plunge into the stage of the Bailarino-Pesquisador- Intérprete Method (BPI, that means, in english, Dance-Research-Performer) which we have named Return to the Field. This very stage consists of taking the performance, which is the result of the process that occurred inside the BPI Method, back to the field where the Cohabiting with the Source for the scenic creation took place. This is a Method in which the performer's object of research is their focus on either a given cultural manifestation or on a certain stratum of the brazilian culture. The stage of the Return to the Field, in this very project, was based upon four presentations of the performance "Nascedouro", which took place in three different indigenous villages in the so-called "Terra Indígena de Pimentel Barbosa" belonging to the ethnic group of the Xavante and situated in the north of Mato Grosso State. "Nascedouro" is the result of the research of the undergraduate on the DRP Method and focus on the ethnic group of the Xavante. With the direction of the Professor Graziela Rodrigues and the performance of Elisa Costa. As for the experience of returning "Nascedouro" to its Source, both performer and director have been to the land of the Xavante people. It was part of the objectives to seek through the Return to the Field, openness, communication and exchange enough to generate a situation in which the objects of the research would interact with the spectacle and which happened in fact. After the Return to the Field stage, there were other directed creation labs that aimed at better elaborating the scenic results of this project, which resulted in a performance as well as in new presentations of "Nascedouro". Therefore, we have concluded that the Return to the Field, in the BPI Method generates identification together with the objects of the research, thus promoting the perfomer's development as well as the performance's development. It can also provide the creation of new scenic products. We have also concluded that being in tune and trusting one another are the essencial elements to the director-performer relationship, so that the processes of the BPI Method's successful<br>Mestrado<br>Artes da Cena<br>Mestra em Artes da Cena
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Nagai, Angela Mayumi. "O Dojo do BPI : lugar onde se desbrava um caminho." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284085.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Acompanha 1 DVD<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-14T02:42:43Z (GMT). No. of bitstreams: 1
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Previous issue date: 2008<br>Resumo: Esta é uma investigação sobre o dojo, procedimento laboratorial do método Bailarino- Pesquisador-Intérprete (BPI), criado pela Profa. Dra. Graziela Rodrigues. O BPI trabalha a dança no sentido do desenvolvimento da imagem corporal do bailarino em contato com sua originalidade e não, da manutenção e perpetuação de uma imagem corporal idealizada. O método BPI é um sistema que compreende três eixos: O Inventário no Corpo, O Co-habitar com a Fonte e A Estruturação da Personagem. O Inventário no Corpo, eixo escolhido nesta pesquisa, prepara o bailarino para a vivência integral do método. O bailarino investiga sua história corporal e reconhece conteúdos psíquicos e emocionais somatizados, dando-lhes fluxo livre. Este eixo é trabalhado dentro do dojo, o laboratório do BPI. O dojo do BPI é o espaço de exploração da memória corporal. Inicialmente, o dojo compreende um círculo de giz desenhado no chão e no qual o bailarino adentra diariamente, deparando-se com imagens, sensações e emoções as quais deverá reconhecer e dar movimento num constante exercício de auto-observação. No segundo eixo do BPI, Co-habitar com a Fonte, o bailarino amplia seu autoconhecimento e sua ação no mundo indo ao encontro de pessoas, manifestações culturais e sociais, estabelecendo uma relação de pesquisa baseada numa genuína afetividade. No terceiro eixo do método, a Estruturação da Personagem, o bailarino elabora esteticamente suas investigações, nucleando em seu corpo os aspectos mais significativos e partejando uma personagem, fruto dos encontros consigo mesmo e com o outro. Em O Dojo do BPI: Lugar onde se desbrava um caminho, elucida-se o funcionamento do dojo no eixo Inventário no Corpo, realizando-se uma síntese da história corporal da pesquisadora-bailarina em processo. Como resultado, obteve-se o fortalecimento do fluxo criativo e a dinamização de sua imagem corporal.<br>Abstract: This is an investigation about the dojo, a laboratorial dance procedure that uses the method Dancer-Researcher-Performer (DRP), created by professor Graziela Rodrigues. The DRT method works to develop the body image of the dancer focusing on his originality, instead of mantaining and perpetuating an idealized body image. The DRP method was conceived in three axis: The "Body's Inventory", the "Cohabituate with the Source" and the "Construction of the Character". The "Body's Inventory" is the main subject of this research, the axis that prepares the dancer to experience the whole method. The dancer investigates his own corporal history and recognizes the psyche and emotional content contained in the body, allowing it to flow freely. This axis is worked inside the dojo, the laboratory of the DRP method. The dojo of DRP is a place where one explores the corporal memory. In the very begining, the dojo of DRP consists of a circle drawn on the floor with chalk, in which the dancer steps inside everyday, facing the images, sensations and emotions, recognizing and giving them movement in a constant application of self-observation of his body image development. In the second axis, the "Co habituate with the Source", the dancer expands his selfknowledge and his action by encountering the world through meeting people, participating in cultural and social manifestations and establishing a research relationship based on a genuine affability. In the third axis, the "Construction of the Character", the dancer makes an esthetic elaboration of his investigations, drawing attention in his body to the most significant aspects and giving birth to a unique personality or "character" which is the offspring of all his encounters with himself and with the other. The Dojo of DRT: a place where pathways bloom elucidates the functioning of the dojo during the "Body's Inventory" axis, making a corporal synthesis of the dancerresearcher in process. As a result, the creative flow was strengthened and the body image became more dynamic.<br>Mestrado<br>Mestre em Artes
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Campos, Flávio 1985. "Rede de Afetos = as relações afetivas vivenciadas pelo sujeito no processo de formação e de criação cênica do método Bailarino-Pesquisador-Intérprete (BPI) = Affectionate network: affectionate relationships experienced in the process of scenic creating with the Dancer-Researcher-Performer (BPI) method." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284379.
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Orientador: Graziela Estela Fonseca Rodrigues<br>Dissertação (mestrado) - Universidade Estadual de Campoinas, Instituto de Artes<br>Made available in DSpace on 2018-08-21T07:05:07Z (GMT). No. of bitstreams: 1
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Previous issue date: 2012<br>Resumo: O presente trabalho evidencia a existência e o papel fundamental das relações afetivas no processo criativo proposto pelo método Bailarino-Pesquisador-Intérprete (BPI). Utilizando-me metodologicamente da Análise de Conteúdos proposta por Laurence Bardin (1977) e do caráter qualitativo para analisar os dados coletados, segundo Graham Gibbs (2009), constato que há na dinâmica sistêmica do BPI a estruturação de uma Rede Afetiva a partir das relações intrapessoais e interpessoais vivenciadas pelo intérprete. Este trabalho possui quatro capítulos, onde descrevo a minha trajetória de estudos e inquietações até a organização de um pré-projeto cujo objetivo é o eixo do desenvolvimento desta investigação. Apresento, também, os Materiais e as ferramentas utilizadas para analisar o objeto de estudo escolhido. E, de modo mais especifico, discuto sobre a estruturação de uma Rede de Afetos e sobre a importância do diretor no Processo BPI. Esta dissertação sintetiza o meu aprofundamento sobre o método BPI, traçando, a partir de uma revisão bibliográfica, uma reflexão sobre a alteridade e a conduta ética num processo de criação em Artes da Cena. É um estudo que abre espaço para o diálogo com muitas das áreas do conhecimento, especialmente aquelas relacionadas às artes<br>Abstract: This study provides evidence of the existence and fundamental role of affectionate relationships in the creative process proposed by the BPI (Dancer-Researcher-Performer) Method. The qualitative approach and the Content Analysis Method proposed by Laurence Bardin (1977) utilized here allow me to observe that an Affective Network of intrapersonal and interpersonal relations is built through the system dynamics proposed by the BPI method. This Dissertation has four chapters in which I describe my personal and academic experiences, as well as my anxieties and inquiries that led me to the organization of a project that form the axis of this investigation. Materials and tools considered in the analyses of my study object are also described here. More specifically, I discuss the structuring of an Affectionate Network and the importance of the director in the BPI process. This dissertation also synthesizes my in-depth study of the BPI method, proposing, from a bibliographic review, a reflection on alterity and ethical conduct in the creative process of the Performing Arts. It is a study that dialogues with many areas of knowledge, especially those related to the arts<br>Mestrado<br>Artes da Cena<br>Mestre em Artes da Cena
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Reis, Weber. "Estudos do método bailarino-pesquisador-intérprete (BPI) = estruturação da personagem Zé Mané." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284951.
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Previous issue date: 2010<br>Resumo: O trabalho aqui apresentado é registro de estudos do Método Bailarino-Pesquisador-Interprete (BPI), que convergiu na estruturação da personagem Zé Mané. Constam como principais referências teóricas os trabalhos literários da criadora do Método, a Profa. Dra. Graziela Rodrigues - Bailarino-Pesquisador-Interprete: Processo de Criação (1997) e O Método BPI (Bailarino-Pesquisador-Interprete) e o Desenvolvimento da Imagem Corporal (2003). A dissertação dos estudos teóricos do Método apresentam desenvolvidos em seis tópicos: Estrutura Física do BPI; Inventário no Corpo; pesquisa de Campo; Co-Habitar com a Fonte; Dojo e Estruturação da Personagem. Foi desenvolvido pesquisa de campo e trabalhos laboratoriais , na aplicação prática do Método, tendo como tema o "Caipira" e a cultura que o envolve. Observamos nos trabalhos práticos o desenvolvimento dos três eixos do Método: O Inventário no Corpo; O Co-Habitar com a Fonte e A Estruturação da Personagem. Nosso foco esteve voltado para a ativação da habilidade da percepção corporal do Intérprete, durante o processo de estruturação da personagem Zé Mané. A discussão dos resultados obtidos reforçam a questão da identidade corporal que o método BPI trabalha num processo elaborado de dentro para fora do corpo do Interprete, sempre solicitando a ele que ative a sua habilidade de percepção corporal: das emoções, dos sentimentos, dos aspectos fisiológicos localizados no tempo e no espaço. Concluímos que o método BPI trabalha o Interprete para atuar de forma abrangente nos espaços das artes cênicas<br>Abstract: The work presented here, is a record of studies of the method Dancer-Researcher-Performer (DRP), which converged on the structuring of character Zé Mané. Listed as the main theoretical references the literary works of the creator of the Method Prof. Dr. Graziela Rodrigues - Dancer-Researcher-Performer: Process of Creation (1997) and The Method DRP (Dancer- Researcher-Performer) and the Development of Body Image (2003). The thesis of the theoretical method developed is presented in six topics: Physical Structure of DRP; Inventory in the Body, Research Field, co-inhabit with the Source; Dojo and Structure of the Character. It was developed field research and laboratory work, practical application of the method, taking as his theme "Caipira" and the culture that surrounds it. Observed in practical work to develop the three axes of Method: The inventory in the Body, The Co-Living with the Source and The Structure of Character. Our focus was turned to the activation of the ability of body awareness of performer, during the process of structuring the character Zé Mané. The discussion of results reinforces the question of identity that the method body DRP works in a process developed from within the body of the performer, always asking him to activate your ability to sense body: emotions, feelings, physiological aspects of located in time and space. We conclude that the method works the DRP Interpret to act comprehensively in performing arts spaces<br>Mestrado<br>Artes Cenicas<br>Mestre em Artes
Books on the topic "Dancer- Researcher"
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Netherlands) School voor Nieuwe Dansontwikkeling (Amsterdam. Talk, 1982-2006: School for New Dance Development publication : dancers talking about dance, 15 interviews and articles from 3 decades of dance research in Amsterdam. International Theatre & Film Books, 2009.
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2
Millman, Anne. Indian dance qualitative research. Arts Council of Great Britain, 1988.
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J, Baumol William. Making changes: Facilitating the transition of dancers to post-performance careers : research report. Advance Project, 2004.
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International Congress "Dance and Research" (1st July 2-6 1989 Vrije Universiteit, Brussel). Dance and research: Aninterdisciplinary approach. Edited by Brack Clairette, Wuyts Irina, and Dans Universiteit. Peeters Press, 1991.
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Kurath, Gertrude Prokosch. Half a century of dance research. Cross Cultural Dance Resources, 1986.
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Dunin, Elsie Ivancich. DdA reference format for dance. Dept. of Dance, University of California, 1989.
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Copyright Paperback Collection (Library of Congress), ed. Formula for danger. Steeple Hill Books, 2010.
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Massey, Reginald. Asian dance in Britain: A selection of researches and reviews. National Resource Centre for Dance, University of Guildford, 1996.
Find full textBook chapters on the topic "Dancer- Researcher"
1
Damsholt, Inger. "Identifying ‘choreomusical research’." In Music-Dance. Routledge, 2017. http://dx.doi.org/10.4324/9781315271996-2.
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Press, Carol M., and Edward C. Warburton. "Creativity Research in Dance." In International Handbook of Research in Arts Education. Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-3052-9_87.
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Hovde, Sunniva, Asante Smzy Maulidi, and Tone Pernille Østern. "Towards Just Dance Research." In Arts-Based Methods for Decolonising Participatory Research. Routledge, 2021. http://dx.doi.org/10.4324/9781003053408-5.
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Clay, Alexis, Elric Delord, Nadine Couture, and Gaël Domenger. "Augmenting a Ballet Dance Show Using the Dancer’s Emotion: Conducting Joint Research in Dance and Computer Science." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering. Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11577-6_19.
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Stephanie, Schroedter. "Staging choreomusical research." In The Routledge Dance Studies Reader. Routledge, 2018. http://dx.doi.org/10.4324/9781315109695-17.
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Barbour, Karen N. "Dance on Campus." In Realising Innovative Partnerships in Educational Research. SensePublishers, 2017. http://dx.doi.org/10.1007/978-94-6351-062-2_21.
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Panhofer, Heidrun, Peter Zelaskowski, and Iris Bräuninger. "Dance movement therapy training." In Intercultural Arts Therapies Research. Routledge, 2016. http://dx.doi.org/10.4324/9781315726441-4.
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Springborg, Claus. "Designing Dance into Qualitative Research." In Using Arts-based Research Methods. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33069-9_3.
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Mullis, Eric. "Movement Research: The Most Originally Mine." In Pragmatist Philosophy and Dance. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29314-7_6.
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Condon, W. S., and L. W. Sander. "The Dance of the Neonates." In Introducing Psychological Research. Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24483-6_42.
Full textConference papers on the topic "Dancer- Researcher"
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Landry, Steven, and Myounghoon Jeon. "Participatory Design Research Methodologies: A Case Study in Dancer Sonification." In The 23rd International Conference on Auditory Display. The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.069.
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Given that embodied interaction is widespread in Human-Computer Interaction, interests on the importance of body movements and emotions are gradually increasing. The present paper describes our process of designing and testing a dancer sonification system using a participatory design research methodology. The end goal of the dancer sonification project is to have dancers generate aesthetically pleasing music in real-time based on their dance gestures, instead of dancing to prerecorded music. The generated music should reflect both the kinetic activities and affective contents of the dancer’s movement. To accomplish these goals, expert dancers and musicians were recruited as domain experts in affective gesture and auditory communication. Much of the dancer sonification literature focuses exclusively on describing the final performance piece or the techniques used to process motion data into auditory control parameters. This paper focuses on the methods we used to identify, select, and test the most appropriate motion to sound mappings for a dancer sonification system.
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Soga, Asako, Bin Umino, Takami Yasuda, and Shigeki Yokoi. "Web3D dance composer." In ACM SIGGRAPH 2006 Research posters. ACM Press, 2006. http://dx.doi.org/10.1145/1179622.1179628.
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Uspuriene, Aiste Barbora, and Mindaugas Martinaitis. "Peculiarities of Dancers Training." In International Research-to-practice conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-530727.
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For dancers to look mostly effective, they need to move as a single body, maintaining a smooth movement along with the music, despite changing directions. Each movement should be more amplified than usual, but with gentle footwork and elegant posture. The slightest deficiency in some ability due to fatigue is a determining factor in whether the dancers will enter the next round. Research aim is to analyze the literature and to reveal Latin American dancers training peculiarities.
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Guo, Zhenhua, Jun Yang, and Meirong Tang. "Research onTujia Sayerhe Dance." In 6th International Conference on Social Network, Communication and Education (SNCE 2016). Atlantis Press, 2016. http://dx.doi.org/10.2991/snce-16.2016.13.
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Baskaran, Krutheeka, and Saji K. Mathew. "Danger vs Fear." In SIGMIS-CPR '20: 2020 Computers and People Research Conference. ACM, 2020. http://dx.doi.org/10.1145/3378539.3393856.
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Zhang, Rui. "Research of Oroqen Dance Culture." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.57.
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Padalia, Andi, and Bau Salawati. "Analysis of the Need for Development of Dance Learning Devices in South Sulawesi in Students of Sendratasik Education FSD, State University, Makassar (Dance CD Dance Mallatu ’Pakkuru Sumange Coffee and Dance’)." In Proceedings of the International Conference Primary Education Research Pivotal Literature and Research UNNES 2018 (IC PEOPLE UNNES 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/icpeopleunnes-18.2019.13.
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Schrock, Peter J., M. Elisa McQueen, Kathryn J. De Laurentis, Merry L. Morris, and Rajiv V. Dubey. "Wheelchair Modification for Hands-Free Motion for Dancers With Disabilities." In ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-193178.
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Functional modifications to power and manual chairs are currently advancing in the areas of rehabilitation, sports and recreation and in the activities of daily living; however, these modification have yet to be directly applied in the field of performing arts. An assistive device was developed at the University of South Florida (USF) during collaboration between the Department of Mechanical Engineering and the School of Theatre and Dance. The project was initiated by Professor Merry Lynn Morris who identified a need for new conceptions of mobility; her work with dancers, with and without disabilities established the research framework in which choreographic vision could be supported with technological applications. Therefore, a device was designed to alleviate the constraints of current wheelchair designs which inhibit the user’s upper-body artistic movement range and capacity for interaction. The main purpose of the design was to create hands-free motion through the modification of a power wheelchair, which make it useful in the performing arts, but also as an assistive device for persons with disabilities. This device is in its first research phase of development as a prototype and is patent pending.
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Sydorenko, Serhii, and Svitlana Sydorenko. "APPROACHES TO REDUCE WILDFIRE DANGER IN UKRAINE." In Modern Global Trends in the Development of Innovative Scientific Researches. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-588-39-6-35.
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Long, Xiaoya. "Analysis on Evolution of Style of Chinese Classical Dance from Classical Dance Play." In 2016 5th International Conference on Social Science, Education and Humanities Research. Atlantis Press, 2016. http://dx.doi.org/10.2991/ssehr-16.2016.80.
Full textReports on the topic "Dancer- Researcher"
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Bellwood-Howard, Imogen, and Abdulai Abubakari. Children’s Harmful Work in Ghana’s Lake Volta Fisheries: Research Needed to Move Beyond Discourses of Child Trafficking. Institute of Development Studies (IDS), 2020. http://dx.doi.org/10.19088/acha.2020.004.
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Children work throughout the Lake Volta fisheries value chain. It is commonly assumed most have been trafficked. Research and advocacy has focused on dangers to young boys harvesting fish, and poverty as a driver, precluding attention to harms experienced by non-trafficked children, girls’ experiences and work-education dynamics. More work is needed on the proportions of children who fish and perform harmful work; structural, ecological and historical contexts; young people’s agency in pursuing fishing work; and why attention to trafficking dominates.
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Tarko, Andrew P., Thomas Hall, Cristhian Lizarazo, and Fernando España-Monedero. Speed Management in Small Cities and Towns—Guidelines for Indiana. Purdue University, 2020. http://dx.doi.org/10.5703/1288284317122.
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Many small cities and towns in rural states such as Indiana are crossed by arterial highways. The local traffic on these roads, particularly vulnerable road users, face the excessive risk of injury and death. This danger is amplified with local land development, driveways, and on-street parking in town centers. This report presents an Indiana study of the speeding problem on arterial roads passing through small communities. Past research on various countermeasures suitable for the studied conditions were identified and the connection between speed reduction and safety improvements was investigated in a sample of Indiana small towns. Promising speed-reduction measures include speed feedback signs and converging chevrons with speed limit legends marked on the pavement. Point-to-point enforcement is a modern and highly effective alternative that may be applicable on highways passing small towns if the through traffic prevails with limited interruptions. This report provides a method of evaluating the benefits of speed reduction in the studied conditions where the risk of severe injury and fatality is excessive to road users while the frequency of crashes is low. The method includes the proactive estimation of the economic benefit. The results indicate that both the local and through traffic on highways passing a small town benefit considerably from speed reduction even after accounting for the loss of time. An Excel spreadsheet developed in the study facilitates the calculations.