Dissertations / Theses on the topic 'Hip-hop dance'

vii, 41 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The purpose of this study was to identify and define the essential characteristics of hip hop dance. Hip hop dance has taken many forms throughout its four decades of existence. This research shows that regardless of the form there are three prominent characteristics: performance, personal style, and competition. Although it is possible to isolate the study of each of these characteristics, they are inseparable when defining hip hop dance. There are several genre-specific performance formats in which hip hop dance is experienced. Personal style includes the individuality and creativity that is celebrated in the hip hop dancer. Competition is the inherent driving force that pushes hip hop dancers to extend the form's physical limitations. Defining these vital characteristics in the vernacular context should help dancers, scholars, and educators to develop a better understanding of hip hop dance.
Committee in Charge: Jenifer P. Craig Ph.D., Chair; Steven Chatfield Ph.D.; Christian B. Cherry MM

Il tema della tesi è la facilitazione dell’apprendimento della lingua straniera, nel caso specifico della lingua inglese, attraverso lezioni di danza hip hop. Questo argomento coinvolge le mie due grandi passioni: l’insegnamento della danza hip hop (posseggo due diplomi nazionali: C.S.E.N. e M.I.DA.S. entrambi riconosciuti dal C.O.N.I.), e la glottodidattica. Attraverso lezioni sperimentali a partecipazione volontaria tenute presso il Liceo Linguistico “E. Montale” di San Donà di Piave con gli studenti del secondo anno, si è voluto mettere in pratica la tesi in questione, creando lezioni che unissero argomenti di lessico e grammatica inglese ad esercizi tipici delle lezioni di danza hip hop. Tali sperimentazioni sono state basate sugli studi compiuti durante la stesura della tesi. La tesi è suddivisa in sei capitoli. Il primo capitolo tratta delle neuroscienze: partendo dalla psicomotricità che pone l’accento sul connubio tra anima e corpo nel processo di apprendimento, passando alla PNL la Programmazione Neuro Linguistica, alle preferenze sensoriali dell’apprendimento, all’apprendimento esperienziale di Kolb, alla multisensorialità, alle teorie dell’embodiment, ai neuroni specchio, terminando con la memoria. Il secondo capitolo tratta dell’emozioni nel processo di apprendimento. Dapprima cercando di darne una definizione, e successivamente riportando le teorie che negli anni hanno supportato l’importanza che le emozioni hanno negli studenti, per concludere con la teoria della valutazione dell’input di Schumann. Il terzo capitolo tratta della motivazione, carburante e linfa del processo di apprendimento. Il quarto capitolo tratta il tema della danza come elemento interculturale. Attraverso fonti antropologiche sulla danza si evidenzia come questa sia presente da sempre in tutte le culture. Nel quinto capitolo ho inserito le programmazioni degli insegnanti della scuola superiore in cui ho sperimentato la tesi, e le indicazioni del Ministero con riferimento alla stessa classe. Infine il sesto capitolo presenta una relazione della sperimentazione, suddivisa per ogni giornata, approfondendo i singoli momenti della lezione che viene costruita in quattro sezioni: il riscaldamento, lo studio dei passi e della tematica giornaliera di lessico e grammatica inglese, la creazione della coreografia, e un ultimo momento di fissazione dei contenuti tramite esercizi scritti.

La tesi mira ad analizzare le basi teoriche e neuroscientifiche che sostengono la facilitazione dell’apprendimento di una lingua tramite l’esperienza e, qui in particolare, tramite il movimento e , quindi, la danza. Passando attraverso una breve storia dell’Hip Hop, della sua cultura e delle contaminazioni che hanno portato alla sua forma attuale, viene svolta una sperimentazione in una classe di Hip Hop. Le lezioni di Hip Hop vengono svolte, ai fini della sperimentazione, in Inglese, con lo scopo di provare che questo tipo di danza può facilitare appunto l’apprendimento della lingua Inglese. Grazie all’analisi dei risultati ottenuti, vengono quindi inserite delle proposte teoriche che possano quindi aiutare l’insegnamento e la facilitazione dell’apprendimento della lingua inglese tramite la danza Hip Hop.

This study investigates the expressive youth movement hip hop, a predominately black male subculture defined through participation in the competitive activities of graffiti writing, rapping and breakdancing. The general objective is to determine what is being communicated through these expressive forms, to whom, how, and finally to suggest why it is being communicated. The extent to which the encoded messages are consistent with reports of the subculture's goals is then discussed. It is asserted that hip hop operates as an alternative identity management and problem-solving mechanism within the black American ghetto. Drawing on traditional aspects of black cultural identity and expressiveness, hip hop creates a distinct way of life, reflecting a constructive and optimistic philosophy, to challenge the existing roles of the street hustler and gang member. Developed in the inner city boroughs of New York City in the late 1960's and early 1970's, hip hop functioned as a non-violent means of projecting a self-image and of measuring self-worth. It continues to be used to confront fundamental issues in a fight to overcome the restrictions of ghetto living, providing an expression of both an aesthetic and a cultural style based on the pursuit of excellence. The focus of the study is a form and content analysis of a selection of recorded raps, which parallels an interpretation of the messages conveyed in the musical form with assertions made by insiders regarding the functioning of hip hop. The thesis explores the hip hop male persona and worldview, his social relations and his role in the community, as they are articulated in the raps. The results of this analysis are then applied to a discussion of hip hop graffiti and breakdancing symbolism. The study concludes that the three expressive forms are communicating the cultural agenda of its members as well as providing the means through which to achieve their goals. It is contended that within hip hop, members empower themselves through aggressive self-glorifying imagery and role-playing, and that they apply this sense of greatness to motivating their community, outlining a strategy for coping with their existence by re-energizing it and transforming it into a positive experience.
Arts, Faculty of
Anthropology, Department of
Graduate

Orientador: úlia Ziviane Vitiello
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T12:11:59Z (GMT). No. of bitstreams: 1 Silva_AnaCristinaRibeiro_M.pdf: 23372685 bytes, checksum: 4863f5136d711a976b94e1cbdc892b3d (MD5) Previous issue date: 2014
Resumo: Este trabalho visou apresentar reflexões sobre as Danças Urbanas e suas possibilidades de atuação no campo educacional, competitivo e artístico. Além disso, verificou-se que a preparação corporal e artística destes dançarinos urbanos necessita contemplar procedimentos que favoreçam diferentes espaços como o palco italiano, espaços alternativos e ou locais onde ocorrem as batalhas, portanto, questiona-se a possibilidade de haver uma efetiva contribuição da técnica somática Ideokinesis. Como existe uma estreita relação entre a Cultura Hip Hop e as danças urbanas, observada em diferentes fatores como a maneira de se comportar na sociedade e a visão de mundo destes dançarinos, não poderia se falar de dança urbana, sem falar dos diferentes elementos que compõem esta cultura híbrida. Para este trabalho a pesquisa de campo foi realizada com a "Cia Eclipse Cultura e Arte" e Associação "Família Eclipse", na cidade de Campinas, São Paulo, onde foi importante observar desde a metodologia utilizada na preparação corporal do elenco até os espetáculos criados para diferentes espaços. Durante esta etapa da pesquisa houve também a oportunidade de investigar outros grupos nacionais e internacionais de dança urbana, o que contribuiu para o desenvolvimento de um olhar diferenciado para a dança urbana a partir dos conceitos da educação somática
Abstract: This research aimed to present reflections about urban dances and their possibilities of action in the educational, artistic and competitive field. Furthermore, it was verified that the body and artistic urban dancers preparation, needs to include procedures that promote different and alternative spaces like Italian stage, areas where battles happens, therefore, its question the possibility of an effective contribution of somatic Ideokinesis technique. As there is a close relationship between Hip Hop Culture and urban dances, it was observed different factors such as how to behave in society and the world view from all of these dancers, there is no way to speak of urban dance, and not to mention the different elements that make this hybrid culture. For this work the field research was held by "Cia Eclipse Culture and Art" and "Eclipse Family" Association in Campinas city, São Paulo, where it was important to observe the methodology used in the cast body preparation to the shows for different spaces. During this stage of the research there was also the opportunity to investigate other national and international groups of urban dance, which cont
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena

Cette thèse retrace la formation de deux mondes professionnels de la danse hip hop française, du soutien à sa reconnaissance artistique par des institutions et des politiques publiques au milieu des années 1980 à sa dualisation au sein de deux réseaux de production distincts observés au début des années 2000. Cette étude s’appuie sur l’analyse des carrières de plusieurs représentants des deux premières générations de danseurs hip hop français. Elle repose sur le recueil de documents d’archives, d’interviews de professionnels de la danse hip hop, sur l’analyse d’un corpus d’évènements diffusés en région parisienne de 2007 à 2012, sur des séances d’observations menées au cours de ces représentations et sur l’examen des chaînes de coopérations contribuant à leur réalisation. Ces données mettent en évidence les processus conduisant à la formation de deux modèles de professionnalisation et de reconnaissance du genre, défendant des conceptions différentes de la discipline : l’une fondée sur une danse hip hop de création bénéficiant d’une reconnaissance artistique institutionnelle, l’autre se référant à une danse hip hop de compétition se développant en marge des mondes de l’art et de toute reconnaissance officielle. Ces deux mondes se caractérisent dans leur capacité à incarner des voies d’insertion professionnelle pour les artistes et pour l’ensemble des individus dédiant leur activité à la production du genre
This thesis explores the development of two professional worlds of French hip hop dance, from its initial public support and artistic recognition in the 1980s to its split into two distinct production networks in the 2000s. This study focuses on the analysis of the careers of the first two generations French hip hop dancers in order to understand how these two dance types were established. It is also based on a collection of archives and interviews of various hip hop professionals. Finally, this thesis also analyzes the development of various hip hop events in the Parisian region between 2007 and 2012, the collaboration required to produce them and several observations during these performances. The information thus acquired shows the processes leading to the formation of two models of professional French hip hop dance genres, and their recognition by distinct networks. These two types of French hip hop dance differ mainly in the aspect of the genre that they primarily based on: the first is a creative type of hip hop dance, recognized by the artistic community; the second is a competitive type of hip hop dance, developing behind the scenes of the art world, without any official recognition. These two worlds of French hip hop dance can therefore coexist, and provide professional opportunities for various artists and others who are active in the dance community

This thesis is structured around an exploration of the global phenomenon hip-hop. It considers how its far-reaching effects, as a cultural export from the United States,have influenced cultural production in South Africa. The investigation focuses specifically on the work of two visual artists: Zimbabwean born, Johannesburg-based Kudzanai Chiurai, and Cape Town born, Berlin-based Robin Rhode. The introduction familiarises the reader with the two artists and briefly outlines their histories and methods, as well as giving a short history of the development of hip-hop as a subculture from its beginnings in 1970s New York. The first chapter follows this brief introduction to outline some of the parallels, especially concerning race relations, between 1970s America and post-apartheid contemporary South Africa. This comparison aims to highlight similarities that gave rise to the hip-hop phenomenon and which also place South Africa in a prime position to welcome such influences. The second half of the chapter explores how migration theory and issues of diaspora have not only influenced the development of hip-hop, but have also become points of focus for both artists, who are in fact disporans themselves. The second chapter explores ‘ground level’ concerns of everyday life in the city. Issues of crime,gangsterism, politics and activism are characterised as focal elements of Chiurai’s and Rhode’s artwork and also of hip-hop musical content. Inner city contexts in different parts of the globe are compared through a discussion of the art and music that come out of them. This comparison of the philosophical and conceptual content of the art and music is extended, in Chapter three, into a comparison of methods of production, considering how these influence various readings of the artistic output, whether musical or visual. Ideas of authenticity are discussed and finally the focus shifts to explore how both the conceptual and practical concerns of musicians and artists are being shaped by an increasingly ‘globalized’ world. The conclusion explores the challenges that globalization poses to cultural practitioners and seeks to highlight some of the artists’ methods as examples with which to facilitate the growth of a more inclusive global aesthetic.

Proponho uma reflexão sobre a prática coreográfica em dança com uma comunidade específica: os alunos do Ensino Médio do Colégio Estadual Júlio de Castilhos, de Porto Alegre – RS. Investigando um contexto institucional, público e de ensino, meu objeto de estudo centra-se no corpo como inscrição social e dançante, articulando procedimentos coreográficos com grandes grupos. Busco compreender a coreografia, sobretudo, como ato político e como teorização de identidade – corporal, individual e social (FOSTER, 2011) –, além de compreendê-la como possível catalisador na proposta de indicar o corpo social como corpo dançante, e vice-versa. Para este projeto prático, escolho procedimentos ligados às danças urbanas, e especialmente a Hip Hop Dance, mantendo como principais referências estudos nacionais, Rodrigues (2006), Ribeiro e Cardoso (2011), e estudos estrangeiros, Faure Marie-Carmen Garcia (2002, 2003, 2005). Aspectos da etnografia, como o recurso fotográfico, são pensados como método de observação sobre o corpo e o gesto dos alunos, tendo como suportes os conceitos de capital, habitus e campo (BOURDIEU, 1994). A transposição de conceitos sociológicos para o âmbito da dança contemporânea é experimentada a fim de alimentar as reflexões que compreendem o corpo e suas relações sociais de poder e pertencimentos. Como referência disso, aponto autores como Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) e Suzane Weber da Silva (2010). Como método de pesquisa, opto pela teoria enraizada (STRAUSS; CORBIN, 1990; PAILLÉ 1994). Os resultados desse processo conduziram uma criação coreográfica em larga escala com um grupo de jovens do Colégio, acompanhada por esse memorial reflexivo-crítico de criação.
I propose a reflection about the choreographic practice in dance with a specific community: the secondary school students from Colégio Estadual Júlio de Castilhos, Porto Alegre – RS. Investigating an institutional, public and scholar context, my study object focuses on the body as social and dancing inscription, studying and articulating choreographic procedures with large groups. I try to understand the choreography especially as a political act and as theorization of identity - corporeal, individual, and social (FOSTER, 2011), as well as understand it as a possible catalyst in the proposal for imagine the social body as dancing body, and vice versa. For this practical project, I choose procedures related to urban dances, and especially the Hip Hop Dance by keeping as main references national studies, Rodrigues (2006), Ribeiro and Cardoso (2011), and foreign studies, Faure Marie-Carmen Garcia (2002, 2003, 2005). Ethnographic aspects, as the photographic resource, are thought of as observation method over the body and gesture of the students, taking as supports the concepts of capital, habitus and field (Bourdieu, 1994). The transposition of sociological concepts to the field of contemporary dance has been tried to feed the reflections that understand the body and its social power relations and belongings. I point out as reference authors like Sylvia Faure (2001), Helen Thomas (2003), Pierre-Emmanuel Sorignet (2004) and Suzane Weber da Silva (2010). As a research method I choose the grounded theory (STRAUSS; CORBIN, 1990; PAILLÉ 1994). The results of this process have led a choreographic creation on a large scale with a group of young students of the College, accompanied by this reflective-critical memorial of creation.

Esta dissertação, de cunho qualitativo, está situada no campo dos Estudos Culturais e de Gênero em Educação a partir das contribuições teóricas pós-estruturalistas de Michel Foucault. Proponho pensar as pedagogias de masculinidade que se instalam na prática do hip-hop, imprimindo no corpo modos hegemônicos de viver o masculino, no cenário das danças contemporâneas. Minhas indagações centrais estão centradas na forma como se estruturam as estratégias e negociações utilizadas pelos garotos dançarinos de hiphop na produção, constituição e manutenção de representações de masculinidades. Quais são as pedagogias que se instalam nesta prática e operam como produtoras de um corpo masculino no contexto da dança? Como questões de gênero e sexualidade se atravessam na produção dessas representações? Este estudo tematiza as questões de corpo, gênero e sexualidade dentro de um campo específico das culturas corporais: a dança hip-hop. Entendendo a dança como uma prática corporal produzida pela/na cultura, que marca os corpos e narra diferentes formas de constituição do sujeito, se constitui com as relações de gênero e sexualidade. Em nossa cultura ocidental contemporânea, a dança é marcada pelo universo feminino, ou seja, é significada como uma prática corporal feminina nos contextos sociais. A delicadeza/leveza do gesto e o andar suave e ereto são padrões de movimentos promovidos por discursos trazidos pela primazia da dança clássica e diluída nos diferentes espaços. O hip-hop, entendido como um espaço de trocas e aprendizagens múltiplas na produção de identidades juvenis, produz posições de sujeito ‘confortáveis’ e/ou ‘seguras’ para os meninos dançarinos, apresentando-se como um terreno masculino no universo das danças competitivas. Para isso, analisei as narrativas trazidas por dez jovens dançarinos de hip-hop que transitam em um terreno comum: o hip-hop espetacularizado na cidade de Canoas. As entrevistas foram gravadas e, posteriormente, transcritas, permitindo, assim, a recorrência de determinados relatos no qual procuro analisar ao longo dos capítulos dessa pesquisa.
This piece of work, using a qualitative approach, is situated in the field of Cultural and Gender Studies in Education based on the post-structuralism theoretical contributions of Michel Foucault. I propose to reflect the masculinity pedagogies that are set up within the practice of hip-hop, printing hegemonic ways of living the masculinity on the body, in the scenario of contemporary dances. My central questions are about how to structure the negotiations and strategies used by the male dancers on the production, creation and maintenance of masculinity representations. What are the pedagogies that are set up within this practice operating as a male body producer in the context of dance? How do gender and sexuality issues get through the production of these representations? This study addresses the body, gender and sexuality issues within a particular field of corporal culture: the hip-hop dance. Understanding dance as a body practice produced by/in the culture, which marks the bodies and tells different forms of the subject constitution, it is constituted by gender relations and sexuality. In our western culture, dance is marked by the feminine universe, that is, it is meant as a female body practice in social contexts. The gracefulness/smoothness of gesture, the upright and smooth walking are outline movements promoted by speeches brought from the primacy of classical dance and diluted in different spaces. The hip-hop, understood as an exchange and multiple-learning space in the production of juvenile identities, produces ‘comfortable’ and ‘secure’ subject positions for male dancers, being as a male environment in the world of competitive dances. To goal it, I analyzed the narratives brought by ten young dancers of hip-hop living in a common environment: the spectacled hip-hop in the city of Canoas. The interviews were recorded and later transcribed, allowing, thus, the return of certain accounts in which I try to analyze throughout the chapters of this research.

This thesis explores the relationship between musical tastes and dance practices in a popular dance style known as breaking or b-boying/b-girling. It is based on a multi-sited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often travelled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central. 'Vernacular' or street dancers make consistent claims that "it's all about the music." This is to challenge assumptions in current academic writing on the relationship of music and dance. On one hand, many contemporary dance writers argue that musical tastes have little to do with choreographic practices and the meanings of dance performances. On the other hand, sociological accounts of musical tastes rarely consider dance practice in their analyses. The result is that musical tastes are under-theorised in accounts of dance performance, and vice versa. Hennion's (2007) assertion that taste is an activity provides a foundation for a new argument. I propose that taste is an activity that, when theorised in terms of music and dance practices, suggests new epistemological avenues for studies of popular dance. Put simply, I argue that, in breaking practices, dance is a performance of musical taste. This performance of taste has a variety of avenues - from hip hop theatre performances, to international battles, master class workshops, club nights and local events – and in each new context, the relationship between music and dance transforms. These shifts in selection reveal that the dance is not just “about the music,” but also about how tastes are mediated, negotiated and competed over.

Made available in DSpace on 2015-08-20T17:09:58Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-02. Added 1 bitstream(s) on 2015-08-20T17:26:03Z : No. of bitstreams: 1 000841599.pdf: 1020021 bytes, checksum: 00d5c6eb08d2c20ace4f90f9a2c20af2 (MD5)
Considerando que os aparelhos celulares se fazem cada vez mais presentes entre os jovens, e que estes dispositivos apresentam diversos recursos que podem ser interessantes numa perspectiva educacional, o objetivo do presente estudo foi investigar as possibilidades pedagógicas dos usos dos celulares nas aulas de Educação Física, no conteúdo de dança proposto pelo currículo do Estado de São Paulo, mais especificamente, o Hip Hop e Street dance, contemplados no nono ano do Ensino Fundamental. Para isso, o método da pesquisa consistiu em três etapas distintas e complementares: 1- Diagnóstico da temática do estudo realizado por meio uma análise documental, observação participante e entrevistas com professores, alunos e coordenadores pedagógicos de duas escolas, sendo uma pública e outra privada; 2- Implementação de aulas, pelo próprio pesquisador, aproximando os recursos do celular do conteúdo referido; 3- Avaliação das aulas ministradas, a partir de entrevistas com professores e alunos, levantando as principais impressões, possibilidades e limitações da proposta implementada. A análise dos dados ocorreu por meio de uma categorização temática, a qual culminou em quatro categorias de análise, sendo elas: TIC, diagnóstico e realidades; Possibilidades e contribuições do celular nas aulas de Educação Física; Inovações nas aulas de Educação Física e Dificuldades. Na primeira categoria, pôde-se evidenciar uma grande diferença, entre o ensino público e o privado, em relação ao acesso e uso das TIC no ambiente escolar. Verificou-se, também, que a utilização do celular se faz presente no cotidiano dos atores escolares. Em relação às possibilidades pedagógicas, o celular se mostrou como uma ferramenta versátil para o desenvolvimento das aulas, dessa forma possibilitou a exploração como fonte de pesquisa imediata, registro de imagens e situações pedagógicas, bem como interatividade, a partir de...
Whereas cell phones are made increasingly present among young people, and that these devices have several features that may be interesting an educational perspective, the objective of this study was to investigate the pedagogical possibilities of mobile uses in Physical Education, the dance curriculum content offered by the State of São Paulo, more specifically, the Hip Hop and Street Dance, contemplated in the ninth year of elementary school. For this, the research method consisted of three distinct and complementary stages: 1- Study the issue of diagnosis performed through documentary analysis, participant observation and interviews with teachers, students and coordinators of two schools, one public and one private ; 2- Implementation classes, by the researcher, bringing the resources of the cell of said content; 3- Evaluation of classes taught, from interviews with teachers and students, raising the main impressions, possibilities and limitations of the proposal implemented. Data analysis was carried out through a thematic categorization, which culminated in four categories of analysis, namely: ICT, diagnosis and realities; Possibilities and cellular contributions in Physical Education; Innovations in Physical Education and difficulties. In the first category, we could show a marked difference between public education and private, in relation to access to and use of ICT in the school environment. It was found also that the use of cell is present in the routine of school actors. With regard to the pedagogical possibilities, the cell proved to be a versatile tool for the development of the classes thus enabled the exploitation as a source of immediate search, image registration and pedagogical situations and interactivity, from a virtual group. In addition, both dance as a content of the classes, as the cell were considered innovations in Physical Education. In the case of difficulties, there was a resistance on the part of schools....

Orientadora: Suraya Cristina Darido
Banca: Fernanda Moreto Impolcetto
Banca: Larissa Rafaela Galatti
Resumo: Considerando que os aparelhos celulares se fazem cada vez mais presentes entre os jovens, e que estes dispositivos apresentam diversos recursos que podem ser interessantes numa perspectiva educacional, o objetivo do presente estudo foi investigar as possibilidades pedagógicas dos usos dos celulares nas aulas de Educação Física, no conteúdo de dança proposto pelo currículo do Estado de São Paulo, mais especificamente, o Hip Hop e Street dance, contemplados no nono ano do Ensino Fundamental. Para isso, o método da pesquisa consistiu em três etapas distintas e complementares: 1- Diagnóstico da temática do estudo realizado por meio uma análise documental, observação participante e entrevistas com professores, alunos e coordenadores pedagógicos de duas escolas, sendo uma pública e outra privada; 2- Implementação de aulas, pelo próprio pesquisador, aproximando os recursos do celular do conteúdo referido; 3- Avaliação das aulas ministradas, a partir de entrevistas com professores e alunos, levantando as principais impressões, possibilidades e limitações da proposta implementada. A análise dos dados ocorreu por meio de uma categorização temática, a qual culminou em quatro categorias de análise, sendo elas: TIC, diagnóstico e realidades; Possibilidades e contribuições do celular nas aulas de Educação Física; "Inovações" nas aulas de Educação Física e Dificuldades. Na primeira categoria, pôde-se evidenciar uma grande diferença, entre o ensino público e o privado, em relação ao acesso e uso das TIC no ambiente escolar. Verificou-se, também, que a utilização do celular se faz presente no cotidiano dos atores escolares. Em relação às possibilidades pedagógicas, o celular se mostrou como uma ferramenta versátil para o desenvolvimento das aulas, dessa forma possibilitou a exploração como fonte de pesquisa imediata, registro de imagens e situações pedagógicas, bem como interatividade, a partir de...
Abstract: Whereas cell phones are made increasingly present among young people, and that these devices have several features that may be interesting an educational perspective, the objective of this study was to investigate the pedagogical possibilities of mobile uses in Physical Education, the dance curriculum content offered by the State of São Paulo, more specifically, the Hip Hop and Street Dance, contemplated in the ninth year of elementary school. For this, the research method consisted of three distinct and complementary stages: 1- Study the issue of diagnosis performed through documentary analysis, participant observation and interviews with teachers, students and coordinators of two schools, one public and one private ; 2- Implementation classes, by the researcher, bringing the resources of the cell of said content; 3- Evaluation of classes taught, from interviews with teachers and students, raising the main impressions, possibilities and limitations of the proposal implemented. Data analysis was carried out through a thematic categorization, which culminated in four categories of analysis, namely: ICT, diagnosis and realities; Possibilities and cellular contributions in Physical Education; "Innovations" in Physical Education and difficulties. In the first category, we could show a marked difference between public education and private, in relation to access to and use of ICT in the school environment. It was found also that the use of cell is present in the routine of school actors. With regard to the pedagogical possibilities, the cell proved to be a versatile tool for the development of the classes thus enabled the exploitation as a source of immediate search, image registration and pedagogical situations and interactivity, from a virtual group. In addition, both dance as a content of the classes, as the cell were considered innovations in Physical Education. In the case of difficulties, there was a resistance on the part of schools....
Mestre

This thesis looks at three of Belgrade’s music scenes: indie pop, electronic dance and hip hop and their relationship with themes such as politics, trans-localism, the night-time economy, authenticity and gender, with special attention paid to Belgrade’s nightlife that has recently been proclaimed the best in the world by various media outlets (Vogue, BBC, The Guardian). The thesis illustrates how these themes like politics, trans-localism and the night-time economy shifted Serbia’s post-Socialist period and rejuvenated the music scenes in Belgrade The project aims to contextualise Belgrade’s music scenes in the transitional, post-conflict and neo-liberal period of Serbia’s social-political and cultural development in the 1990s and 2000s. The Belgrade music scene is used as a case study, as Belgrade is the city with the most developed music scenes in Serbia but can also be used as a benchmark for musical trends in the country and in the region. This is also due to the fact that most of musicians who want to make it in the industry eventually either end up living in Belgrade or have regular concerts in many of the popular Belgrade venues, thus becoming part of the Belgrade music scene. The research presented in this thesis was also inspired by the fact that in the past ten years Belgrade has been named as one the best places for nightlife in the world, with a Vogue article comparing it to Berlin (2017) and a Lonely Planet article proclaiming Belgrade to be the top party city in the world (2019). Moreover, a 2019 BBC article placed Belgrade among top five creative cities in the world (2019). Belgrade nightlife owes this media attention primarily to its vibrant music scenes. This connection between music and the city has been present in Belgrade since the first days of rock’n’roll in the 1950s and is something that today is attracting both the locals and the tourists in search of boosting their subcultural capital (Thornton, 1995), a term based on Pierre Bourdieu’s (1984) theory of cultural capital, which discusses different phenomena such as hipness, fashionable haircuts and being in the know. The research itself focuses on three main music scenes that build on the legacy of Belgrade’s rock’n’roll years – indie pop, electronic dance and hip hop. The questions addressed in this project are: 1. What is the relationship between global and local? How much are the music scenes in Belgrade influenced by the styles Anglo-American scenes? 2. Taking into consideration the role of rock’n’roll music in socialist Yugoslavia and 1990’s Belgrade social protests in the period of Balkan wars, can such music still have influence or make changes in society? 3. With a growing number of media headlines about Belgrade’s nightlife, can we say that Belgrade’s nightlife has been commodified? The reason why these research questions guide this study is as follows: the first question is there to see how much of the Belgrade scene is unique or authentic in comparison to other such scenes around the world, thus broadening the scope of contributions to the global research of scenes. The second question is closely connected to the time when this scene was created, which is during the 1990s when anti-government social protests were the norm in Belgrade. This question is asked to see how much political change affected the creation of the scenes and how much music has influenced changes in society. It is suggested that this kind of scene would not be formed today, as contemporary Serbian society is not affected by a totalitarian regime and wars. This gives us a clue how different today’s scenes are from those created during the 1990s. The third question is important because it is looking into the aspect of Belgrade’s nightlife that has been the city’s trademark for the past ten years or so. The question is posed to see whether this characteristic of Belgrade’s music scene has changed over the years and become commodified, something that happened to Berlin’s nightlife, for example, and what kind of challenges Belgrade’s scenes faced because of that. The ethnographic approach used in the thesis is uncovering the everyday narratives of music scene participants and the tensions arising within and between different scenes as they struggle to adapt to the new cultural economy in Serbia (and particularly in Belgrade). In that sense, the three case studies make sense in terms of how they help to expose and scrutinise these tensions. The value of this ethnographic approach is seen in how the participants of the music scene reacted to war and social upheaval in the country during the 1990s. It is also seen later on, in times of peace, when nightlife and parts of the scene were commodified to an extent that they lost touch with the original scenes from the 1990s. It also shows how people within the scenes were dependent on each other, where social networks were sometimes more important than managers and major labels. Additionally, it demonstrates how a battle-born scene in the 1990s has gone through a specific period of adapting to the new reality of a transitional economy in Serbia, and in the process is showing elements of a very specific local milieu. It also illustrates how the post-war period prompted a boom in the night-time economy where many people with subcultural capital were discovering Belgrade and putting it on the world map of nightlife resorts. Overall, this is a significant study because it is the first time the history of Serbian popular music has been studied in depth in English and from an empirical perspective. The thesis provides a rare study of an Eastern European music scene making the transition from socialism to a post-socialist state. In doing so, the scene incorporates neo-liberal elements including gentrification and branding, commodification of the night-time economy. Thus, this thesis presents a singular case study of the New Europe(ean) lifestyle as expressed through musical taste and scene membership. Ultimately, this is a study of how music and culture in an Eastern European country have responded to such changes – and also how they coped with and adapted to a situation of war. The thesis itself consists of six chapters. Chapter 1 is entitled “Music, Place and Identity” and examines current literature on subcultures, place and identity; Chapter 2 provides an overview of the methodology applied in the field research informing this thesis; Chapter 3 is entitled ‘’The History of Popular Music in Serbia from 1956-1990” and explores the historical part of popular Rock’n’Roll in the period of Yugoslavia with developments in folk music. The last three chapters are data chapters and deal with the analysis of the three individual scenes selected for study in this thesis: Chapter 4 is entitled ‘’ How social protests and social networks forged a scene in Eastern Europe: The case of Belgrade’s Indie Pop scene’ and analyses the Indie Pop scene; Chapter 5 is entitled ‘’ From Local Scene to New Berlin: The Case of Belgrade’s Electronic Dance Music Scene’’ and analyses the EDM scene; and Chapter 6 is entitled ‘’When Street Culture Meets Milieu: The Case of Belgrade’s Hip Hop Scene’ and analyses the Hip Hop scene. Chapter 1, “Music, Place and Identity”, surveys the existing literature on popular music, place and identity and music scenes, as this literature is centrally relevant for my research of Belgrade’s music scenes. The chapter is divided into several topics/themes that are used to analyse the proposed scenes. It starts off with the history of research into subcultures, beginning with both the Chicago and Birmingham School of subcultural theories followed by research into post-subcultures, introducing concepts such as neo-tribes, milieu, and music worlds. A separate section is dedicated to work that has been done on music scenes. Other sections in the chapter discuss the literature on social networks and music worlds, milieu and local identity, authenticity, national identity, music as a factor for political change, and music venues. The chapter concludes with a section dedicated to how this literature is connected to the Belgrade music scenes featured in my study. Chapter 2 discusses the main research methods used both in the process of conducting fieldwork in Belgrade and in the process of data analysis. The chapter describes the use of qualitative methods, with a section outlining the use of semi-structured interviews in ethnographic research. It goes on to describe the method of sampling, starting with choosing gatekeepers and their use in helping me create a snowball sample. The next section discusses how rapport was established with the research participants, focusing on the friendship method used when conducting interviews. It also discusses the use of insider knowledge in research. The chapter ends with a description of the analysis and writing up stages of the thesis production. Chapter 3, “The History of Popular Music in Serbia” chapter covers the Rock’n’Roll period from 1956 to 1990 in Yugoslavia. It also provides a short introduction to Serbian folk music from the 1960s to Turbo-folk in the 1990s. Several sources used for this chapter are books about the Rock’n’Roll period in Yugoslavia and have been translated here for the first time into English. The chapter starts with a discussion of Yugoslavia as a communist country, which was at the same time open to western influences and music coming from the UK and the USA. It starts with a description of bands from the 1960s, including many cover bands, and then moves on to the 1970s when subgenres like progressive rock, psychedelic rock and hard rock had their representatives within Belgrade’s music scenes. A separate section is dedicated to New Wave, a scene that has had a lasting effect on Belgrade’s contemporary scenes, and which is still regarded as the golden age of music in Yugoslav history. The chapter mostly deals with Belgrade’s music scene, although what was happening at the time in Croatia and Slovenia is also briefly discussed. The second part of the chapter is dedicated to the developments in folk music, starting with Newly Composed Folk Music (NCFM), which was dominant in the period from the 1960 to the 1980s, and ending with Turbo-folk, which was the main folk genre by the 1990s. The second part of the thesis presents three case studies of specific music scenes in Belgrade. Chapter 4 focuses on Belgrade’s Indie Pop Scene, particularly how social protests and social networks forged this scene in Eastern Europe. One of the main themes is the connection between the indie pop scene and social protests in Belgrade. With an overview of socially aware songs and the protests held in Belgrade during the 1990s and up until 2000, when democratic changes occurred. The chapter also discusses the role that Indie Pop musicians played within anti-government protests. The next section discusses whether the current indie and indie-inspired music of Belgrade has the ability to spark a change in society the way it did 20 years ago. The next section of the chapter discusses the New Serbian Scene that was formed in 2007. There is a section on media support of the music scenes in Belgrade, from the period when more traditional media were supporting the scenes like TV, radio and magazines, to the Internet-based media including music webzines. The next two sections talk about the role of social networks in the Indie Pop scene, the ex-Yugoslav region and the connection of the bands within the region. The last two sections of this chapter talk about the use of Serbian or English in the songs within questions of locality, and sustainability. It discusses how foreign English sounds in Indie Pop songs, or how local Serbian sounds in them. The chapter also discusses whether Indie Pop musicians can make a living out of music. Chapter 5 focuses on EDM, beginning with an account of the evolution of the electronic music scene in Belgrade. It specifically talks about the evolution of the synth-pop strand of the scene, its beginnings in the 1980s and why it does not have the same popularity in the 2000s. The second section of the chapter discusses the emergence of DJ scene in the 1990s. It focuses on the club Industrija, the most popular venue in the electronic music scene in the 1990s and discusses what dancing represented for Belgrade’s clubbers in the 1990s. The next section of the chapter discusses the changes in the scene during the 2000s, focusing on the technological developments that affected the scene and the role of the DJ in the new millennium. It also briefly discusses why only a few DJs create their own music in Belgrade. One section in this part of the chapter is dedicated to the global versus local discussion in Belgrade’s EDM scene, raising the question of authenticity in this scene. The next section is dedicated to ge der and LGBT issues in the scene, the underrepresentation of female DJs in the scene and the connection of LGBT people and electronic music, respectively. A substantial part of the chapter is dedicated to Belgrade’s nightlife, which has been making headlines in the foreign press, because it was discovered by many tourists and foreign journalists alike, and where it has been compared to Berlin and given the nickname ‘the New Berlin’. The chapter then elaborates on what similarities there are between Belgrade’s and Berlin’s nightlife, and what this in turn can tell us about the EDM scene in the Serbian capital. Chapter 6, the final case study chapter, focuses on Hip Hop and begins with an outline of the evolution of this music scene in Belgrade, presenting the three historical waves of Hip Hop artists in Belgrade. The second section of the chapter is dedicated more to the second wave of rappers that had many examples of conscious rap and how these rappers became the voice of young people in Belgrade. It also discusses the differences and similarities between this kind of Hip Hop and Punk music. The following section of the chapter is dedicated to more nationalistic rappers in the scene, such as Beogradski sindikat and Marlon Brutal, and where this nationalistic attitude comes from several years after the democratic changes in Serbia, which occurred in the year 2000. The section “Remember the 1990s” talks about the lasting effects of the Dizel subculture and Turbo-folk, popular in the 1990s, on the third wave of Hip Hop artists. It also elaborates on how this change of sound and aesthetics happened in the third wave of rappers, as compared to the previous generations of rappers and what it tells us about young people and Hip Hop fans in Belgrade today. The last section of the chapter talks about the theoretical framework of milieu for the Hip Hop scene, and the change of Hip Hop artists and fans from snobs to omnivores. This thesis presents an analysis of three music scenes from Belgrade that have rarely if ever been a topic of focus in academic research. Through the medium of this thesis, representatives of each of these scenes are given a chance to talk about the meaning-making their adherent scenes have provided. The thesis paves the way for a new understanding of Belgrade’s music scenes as scenes in transition with links to other similar scenes across Europe. Thus, this research is also relevant for a broadening of our understanding of the value of the trans-local scene concept in the context of the New Europe.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
Full Text

Rapport de recherche bibliographique diplôme d'études supérieures spécialisées : Ingénierie documentaire : Villeurbanne, ENSSIB : 2004. Rapport de recherche bibliographique diplôme d'études supérieures spécialisées : Ingénierie documentaire : Lyon 1 : 2004.

In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. Clever Children: The Sons and Daughters of Experimental Music explores the relationship between the experimental music tradition and these Clever Children through the application of a mixed method Collective Case Study examining the work of Howard Bernstein (Howie B), Robin Rimbaud (Scanner) and Paul Miller (DJ Spooky). This research utilises an analytical framework comprising interview, document review and musical analysis to explore the artist and work under discussion in order to identify areas of congruence, confluence and difference with key musical and conceptual traits derived from an historical survey of the experimental music tradition and Electronica. The key historical developments of the experimental music tradition and Electronica outlined in this research, though necessarily selective, provide an overview and context of the broad trends and concerns that have emerged in both traditions. This research identifies significant areas of confluence between the two and this suggests that some form of influence may have taken place. When examined in more detail however, this is revealed to be the result of parallel but distinct developments owing more to external factors than any direct or indirect influence. This is borne out to varying degrees within the Collective Case Study. Case Study One examines the remix of Steve Reich’s Eight Lines by Howie B as one example of the congruence, confluence and lines of influence that have been drawn between minimalism and Electronica. This Case Study concludes that, while Bernstein’s work demonstrates strong similarities with the experimental music tradition, Bernstein has not engaged with Reich’s material in a manner that is outside the scope of his usual practice. Furthermore this Case Study suggests that key similarities between Bernstein’s remix and Reich’s original conform to the overlap between Electronica and the experimental music tradition. Subsequently, this Case Study does not support assertions of direct influence by the experimental music tradition on Bernstein’s artistic practice...
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text

Durant notre travail de thèse nous avons porté notre intérêt sur l'étude des peuples créateurs, sur les espaces de création et enfin sur les créations elles-mêmes. Tout au long de notre réflexion, nous avons tenté de cemer les échanges interculturels entre ces deux ensembles. Ces mouvements socioculturels sont tous deux des conséquences de l'isolement racial vécu par les populations de couleur dans l'Amérique anglophone. Depuis leur intemationalisation, la culture hip-hop et le mouvemen trastafari ont su s'exporter sur les cinq continents. Nous avons choisi d'appuyer notre démarche méthodologique et conceptuelle sur les notions suivantes: Nouveaux Mouvements sociaux, le fait religieux, multiculturalisme, interculturalité, diversité culturelle et capitalisme, déterritorialisation, et créolisation. Les mouvements hip-hop et rastafari ont bâti un nouvel ensemble qui les transcende mais qui n'éradique pas leurs singularités respectives. Ce phénomène est à l'image du monde dans lequel nous évoluons. Les cultures hybrides n'ont plus un ensemble de valeurs rigides et bien définies, au contraire,ce mécanisme est de plus en plus complexe et parfois contradictoire. Dans nos sociétés, nombreux sont ceux qui doivent assumer leur avenir au point de rencontre de plusieurs cultures et de plusieurs groupes plus ou moins structurants. Au terme de notre démonstration, il ressort que notre hypothèse de départ est totalement vérifiée. Il existe bel et bien un lien entre le mouvemen rastafari et le mouvement hip-hop. Il y a bien un échange entre les deux diasporas composées " de descendants d'Africains transplantés" aux Etats-Unis et en Jamaïque
During our thesis work we have focused our interest on the study of the creators, the spaces of creation and the creations themselves. Throughoutour discussions, we tried to identify intercultural exchanges between these two movements. These social movements are bot consequences of racial isolation experienced by people of color in the English-speaking America. Since their intemationalization, hip-hop culture and the Rastafarian movement have successfully exported themselves on the five continents. We chose to support our conceptua and methodological approach on the following terms: Interculturality, New Social Movements, religion, multiculturalism, cultural diversity and capitalism, deterritorialization and creolization. The hip-hop movement and Rastafarianism built a new set that transcends each other but dot not eradicatetheir respective specificities. This phenomenon is a refleçtion of the world in whichwe operate. The hybridcultures ino longer a set of rigidvalues and weil defined, on the contrary, this mechanismis becoming more complex and sometimescontradictoryln our society, many people must build their Mure at the meeting point of several cultures and several groups more or Iess structured. At the end of our demonstration, it is clear that our premise is completely verified. There is a link between the Rastafarian and the hip-hop movement. There are many exchanges between the two diasporas composed of descendants of Africans transplanted in the United States and Jamaica

Cette thèse de doctorat en arts du spectacle propose une approche des pratiques, des discours et des représentations autour de la notion de virtuosité en danse. Elle explore des formes en mutation sur la scène chorégraphique et interdisciplinaire contemporaine en s’intéressant à l’incorporation d’un geste virtuose chez plusieurs performers, au passage entre le vingtième et le vingt-et-unième siècle. Observant les transferts d’une discipline ou d’un art à l’autre, ce travail s’est construit à partir d’un corpus de douze interprètes danseurs, breakeurs et acrobates. La première approche choisie a été de les interroger sur leurs parcours, leurs habitudes de travail, leur perception du geste virtuose, puis d’observer les représentations auxquelles ils participent. L’analyse ainsi proposée se construit à partir un corpus d’œuvres (danse contemporaine, cirque contemporain, hip hop) et d’entretiens présentés en annexe de ce travail. La virtuosité est donc envisagée du point de vue de l’interprète, considérée dans un système complexe et présent comme une forme d’indiscipline. A partir de certains constats et grâce à des méthodologies propres à l’analyse du mouvement et à l’analyse esthétique, cette recherche propose une exploration du geste virtuose à l’aune de certaines migrations disciplinaires et s’interroge sur la présence et l’importance de nouvelles formes de virtuosité sur la scène contemporaine, tentant d’en redéfinir les termes et les pratiques
This doctoral thesis in performing arts offers an approach to practice, discourse and representations around the notion of virtuosity in dancing. It looks into forms currently mutating on today’s choreographic and interdisciplinary stage, focusing on the way various performers incorporate virtuosic movement into their interpretation, at the juncture between the 20th and the 21st centuries. Observing the transfers taking place between disciplines, this research is built on a corpus of twelve performers: dancers, breakers and acrobats. The first stage of the approach was to make them describe the path they had followed, their working habits, their perception of a virtuosic move, and to make observations about the shows they take part in. This analysis is based on a corpus of productions (contemporary dance, contemporary circus, breakdance) and interviews presented in the appendix. Virtuosity is thus investigated from the point of view of the performer, considered inside a complex system and presented as a form of indiscipline. Based on a number of observations and methodologies specific to movement analysis and aesthetic analysis, this research proposes an exploration of the virtuosic movement with respect to certain transdisciplinary migrations and examines the questions of the presence and significance of new forms of virtuosity on the contemporary stage, in an attempt to redefine its terms and practices

Dès la fin des années soixante dix, les mouvements musicaux Hip Hop et Techno sont apparus comme des vecteurs d'innovations culturelles et artistiques. C'est fréquemment les caractéristiques musicales de ces mouvements qui ont été étudiées par les chercheurs, délaissant un élément central du système de communication mis en oeuvre par ces mouvements: le corps. Le corps occupe le devant de la scène: émetteur et récepteur, le corps en milieur Hip Hop et Techno est mobilisé comme un marqueur culturel fort, signe d'identité et de distinction. Ce surinvestissement conjoint du corps se manifeste pourtant dans des techniques et usages diamétralement opposés dans chacun des groupes culturels. Cette recherche propose donc de s'intéresser aux pratiques somatiques dansées et non dansées en s'interrogeant sur leurs mises en système dans des "cultures motrices". Cette analyse formelle de la matière corporelle brute induira des questionnements anthropologiques permettant de révéler des logiques isotopes sous-tendant des pratiques somatiques non isomorphes. Relié à des questionnements de type identitaire, cet investissement du corps s'inscrit dans des dynamiques de contestation, contestation des formes et modèles sociaux traditionnels. S'inspirant des théories interdisciplinaires, l'analyse des formes kinésiques et de leur agencement est envisagée dans une perspective sémiologique. Proposant d'analyser les pratiques corporelles comme un langage, ce travail envisage le corps comme une dimension sémiotique de la culture
In the late seventies, the musical movements Hip Hop and Techno emerged as vehicles for artistic and cultural innovations. The musical characteristics of these movements have often been studied by researchers, neglecting a central element of the system of communication carried out by these movements: the body. The body takes front stage: transmitter and receiver, the body is mobilized as a strong cultural marker in Hip Hop and Techno movements, being a sign of identity and distinction. This over-investment of the body in both movements manifests itself in diametrically opposed techniques and practices in each of the cultural groups. This research thus seeks to focus on danced and not danced somatic practices, by questioning their implementation in the "driving cultures". This analysis of the raw corporeal material leads to anthropologic questioning, revealing logic isotopes underlying the somatic non-isomorphic practices. This investment of the body is linked to the questions of identity,and is in line with the dynamics of contestation of traditional social forms and models. Drawing upon interdisciplinary theories, the analysis of kinesic forms and their organization is conceptualized from a semiotic perspective. This work analyzes the corporeal practices as a language, the body being considered as a semiotic dimension of culture

碩士
稻江科技暨管理學院
休閒遊憩管理學系碩士在職專班
107
The main purpose of this study is to explore "Taiwan HipHop Dance Culture."Taiwan's hip-hop dance culture can be grouped into four thematic areas, including: "The overall trend of Taiwanese hip-hop dance", "Interaction between Taiwan and the world", "The growth and decline of the hip-hop dancers", and "The positioning of hip-hop dancers' social values." The data is collected and summarized, and the research results show that: 1, senior dancers believe that although the commercialization process is one of the essence of hip-hop dance, it also hopes Younger generations should not be tempted by commercialization, but rather formalized on the surface. 2, we must have an international outlook to compete with other countries in the world. 3, we must develop a hip-hop dance with local characteristics, in order to maintain Taiwan's original advantage in the Chinese circle. 4, senior dancers also hope that the government and other units can pay more attention to hip-hop dance, and help promote hip-hop dance, in order to eliminate the negative labels given by the society, and to be able to push Taiwan's hip-hop dance to the international stage. Keywords : Taiwan, Hiphop, Dance, International, Values, Business, Characteristics, Society

碩士
國立臺北大學
都市計劃研究所
96
Within the wave of the post-industrialization and globalization in 1980’s, the cultural and creative industries have become a popular category of urban researches. The thesis primarily uses the concept of Liu and White’s innovation system、the project theory and the proximity to analyze current developments of Taiwan Hip Hop dance and construct the creative system of Taipei Hip Hop dance. The thesis includes the discussion and the analysis of the industry innovation theory、project theory and proximity、the context and the industrial network of Taiwan Hip Hop dance、Taipei Hip Hop creative system and spatial analysis, and a case study. For research purpose, 2007 B.O.T.Y. world Hip Hop competition which was hold by one of the top 3 dance school in Taipei, TBC, is chosen. The case study is proceeded by data search and collect and depth interview. It is suggested that the policy meaning of spatial planning for Taiwan Hip Hop dance should reinforce the creative network first. Second, it should promote other stage of industrial networks and incubate talent. Finally, it should integrate with urban tourism and set up an international stage, in order to increase the advantage of urban competition in the global era.

碩士
國立體育學院
運動科學研究所
95
The main objective of this study is to explore the interactive learning executed with mechanism of using 3D/VR vision window as the main learning platform.The major interface of this platform is based on learning『Hip-Hop Aerobic Dance』.The overall study mainly uses Vicon 624 Motion Analysis Instrument to record the motion data of 『Hip-Hop Aerobic Dance』; after compiling the motion data,the 3D character coloring and modeling are combined into 3DMax 7.0 for conversion into 3D/VR animation.Moreover,Virtools 3.0 is used to produce the broadcast platform.With the webcam mechanism of human-machine interface, Borland Builder C++ language is used to write the two windows that can view leaner’s video vision,so the webcam driven with USB2.0 can be connected to acquire vision of character and produce the video vision immediately.This is the so-called『What You See Is What You Get』,where learners can see the vision of their own upper half body. The upper window aligns with the upper half body and the lower window aligns with the lower half body;with file saved from video recording,the result of viewing comparison effect is produced. The objectives of this study are physically divided into two categories:One category discusses and construct the『Hip-Hop Aerobic Dance』based on 3D/VR, which describes the pprocedures of development, as well as difficulties and solutions during operation.The other category constructs a learning system via theory of motion study, so learners can learn the Hip-Hop Aerobic Dance from the 3D/VR platform,which provides a liberated environment of observation. Furthermore, the learning result under this mode can be explored and understood.The feature of this system provides learners with a environment free from limits on time,space and location, so people can add more fun and enrich the prospect in addition to focus on health and physical fitness.Through visual interactive mechanism of human-machine interface applied on sport field, this article inspires learners’motive and truly achieves the effect of『Sport At Home』.

碩士
國立體育大學
運動科學研究所
95
The main objective of this study is to explore the interactive learning executed with mechanism of using 3D/VR vision window as the main learning platform.The major interface of this platform is based on learning『Hip-Hop Aerobic Dance』.The overall study mainly uses Vicon 624 Motion Analysis Instrument to record the motion data of 『Hip-Hop Aerobic Dance』; after compiling the motion data,the 3D character coloring and modeling are combined into 3DMax 7.0 for conversion into 3D/VR animation.Moreover,Virtools 3.0 is used to produce the broadcast platform.With the webcam mechanism of human-machine interface, Borland Builder C++ language is used to write the two windows that can view leaner’s video vision,so the webcam driven with USB2.0 can be connected to acquire vision of character and produce the video vision immediately.This is the so-called『What You See Is What You Get』,where learners can see the vision of their own upper half body. The upper window aligns with the upper half body and the lower window aligns with the lower half body;with file saved from video recording,the result of viewing comparison effect is produced. The objectives of this study are physically divided into two categories:One category discusses and construct the『Hip-Hop Aerobic Dance』based on 3D/VR, which describes the pprocedures of development, as well as difficulties and solutions during operation.The other category constructs a learning system via theory of motion study, so learners can learn the Hip-Hop Aerobic Dance from the 3D/VR platform,which provides a liberated environment of observation. Furthermore, the learning result under this mode can be explored and understood.The feature of this system provides learners with a environment free from limits on time,space and location, so people can add more fun and enrich the prospect in addition to focus on health and physical fitness.Through visual interactive mechanism of human-machine interface applied on sport field, this article inspires learners’motive and truly achieves the effect of『Sport At Home』.

碩士
元智大學
資訊社會學研究所
96
Hip-Hop culture has developed almost twenty years in Taiwan which is a subculture being loved and respected. The research is mainly talking about the Taiwan Hip-Hop dance. By the film of the Hip-Hop dancers and performers, qualitative interview and text analysis, I try to outline the process and the pattern of Taiwan Hip-Hop dance. And then to analyze some issues about who the cultural intermediaries are, what cultural capital does they have and how do they intermediate the Hip-Hop dance. Finally, to advance the unique appearance and the distinctive difficulties they faced of Taiwan Hip-Hop dance.

abstract: With this document I will discuss and reflect upon the performance and art exhibition show which I presented as part of my MFA thesis at the MonOrchid Gallery in Phoenix, Arizona on February 10, 2017. The approach to my thesis comes from my perspective as a Hip Hop practitioner exploring the relationship between each artistic discipline that makes up Hip Hop. Through this lens I will show the knowledge that is built from both individual and the conventional collective understandings of Hip Hop. As a practitioner for over 20 years, Hip Hop has molded my mind to be multifaceted, giving me a strong interest in art making as a collaborative process. I believe the more you see the relationship between each medium, the more that connection manifests a larger cognizance for where these art forms can progress. The relationship between all of the mediums involved creates a rhythm; it is the understanding of rhythm that can connect all types of art. When you are able to understand the process of rhythm as a through line, you will be able to create from your own personal rhythmic qualities in all things. This paper will delve into how my thesis performance incorporated not only music production and dance, but the written form of Hip Hop culture (Writing), identity, and the fundamentals of design. I will use the discussion of these forms to explore the similarities of meaning in movement-making behind B-boying, the most fundamental aspect of visual art and in body forms within Hip Hop. My aim was to research what we (the dancers and myself) learned from the movement in conjunction with Writing. I will discuss how many ways this can be beneficial to exploring new interdisciplinary creative collaborations with 
design, visual art, choreography, sculpture, and architecture. Rhythm is the connective tissue between these disciplines in Hip Hop culture.
Dissertation/Thesis
Masters Thesis Dance 2017

碩士
國立臺北大學
企業管理學系
100
In recent years, cultural & creative industries receive gradually takes seriously, many young people making time and the mental effort attempt to combine their interest with the future occupation. As far as Hip Hop culture is concerned the street dance studio starts in each country city, no matter taking entertainment career as target market, teaching dance for general people, or advanced level training, the street dance studio must try to find their market value and position for sustain operation. However, it still have many street dance studios going out of business because their bad management. So, it becomes important lesson to find the mode of business operation and successful factors. The purpose of this study is to discover and prioritize the critical factors leading to success of street dance studio, with success defined as having superior performance among crew members, dance studio management, and activity management. Interviews and previous literature were utilized in process of collecting data, and re-affirmation of the constructed framework. This study use Analytic Hierarchy Process to evaluate framework within high and low weight, then we make conclusions and develop the business model of street dance studio in accordance with the result assessed. The target interviewees for this research are 36 people who have extensive experience in the street dance studio industry including fourteen CEOs, twenty-two dance teachers. According to the results, three major dimensions were constructed, these are: crew members, dance studio management, and activity management. The research also developed twelve sub-factors under the three major dimensions, with four factors directly related to each of the major dimensions. Prioritizing the successful factors can help CEO and dance teachers improve the chance of street dance studio success and give potential entrants a lucid direction for a better business model path.

Quan, Xixi.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts also in Chinese.

碩士
臺北市立大學
舞蹈學系
105
For providing the students diversified learning opportunities, the schools in Taiwan had been establishing and encouraging them to join diverse learning clubs. Hip Hop dance had been one of the adolescents' favorite dance types, and each school also established Hip Hop dance club and encouraged the students to join in. The case study of this research was based on the Hip Hop dance club of a junior high school which the researcher taught at. The research data were based on semi-structured interviews, the video observation during courses, reflection journal, and learning list. The method of analysis was inductive with triangulation, member check, peer debriefing for increasing the trustworthiness. This case study aimed to understand the experience of adolescents joining the Hip Hop dance club and researched the influence of this progress. The findings of the research showed that joining Hip Hop dance club had positive influences on the adolescents in leadership, the ability of the communication and problem solving, and self-identity. Besides, it also showed that the key elements for the adolescents’ decision-making were the peer influence and the interest. Hopefully the research provided more understandings about Hip Hop dance club and the meaning of education for the teachers, the parents as well as the students.

abstract: Don't Hold Your Breath is an evening-length performance created and performed by Sarah "Saza" Kent and EPIK Dance Company that consisted of street and concert dance combined with hip hop theatre, spoken text and live singing. What began as a one-woman show about the choreographer's life, turned in to an ensemble piece that included the stories of many people, including ten community members who were interviewed on their views of life and death after being affected by a diagnosis. The show follows Kat, a young woman tiptoeing the line between her party girl past and the thought of finally growing up and settling down. Typically confident and self-assured, she is now grappling with the idea of life and death. Kat finds herself in an MRI machine that could ultimately determine her fate. As the machine examines her body, she begins to examine her life, causing her to confront some of life's most existential questions. Has she spent her time wisely? Would she do anything differently if given a second chance? When it comes down to it, and all distractions are stripped away, what is truly important? Her thoughts take her to memories of her past and visions for her future as she faces the reality that life is finite and tomorrow is not promised. This document is an account of the show's process and serves as a place of explanation, analysis, and reflection, while also questioning its significance on a personal level all the way to its place in the field.
Dissertation/Thesis
Masters Thesis Dance 2018

abstract: This document outlines the formation and development of Worth the Weight, or WTW, a platform that seeks to sustain the Breaking community in Phoenix, Arizona and connect the generations by bringing them together in a newly and never before seen event in Breaking, an all weight class and division competition. In the last five to ten years there has been a noticeable decline in the local Breaking community, in part due to the introduction of new dance categories, economic and social changes, the cross over of academia and traditional studios in Phoenix; all combining to create a lack of longevity in veterans of the culture to pass on the tools of the trade to the next generation. WTW is an event that occurs monthly for three consecutive months followed by a month off, totaling nine events and three seasons per calendar year. At each event dancers go head to head in battle in a single elimination style bracket, where they will add a loss or win to their overall season record. The goals of WTW are self-empowerment as well as ownership and investment in the community by those involved through participation in both the event and the planning process; all built on a foundation of trust within the Breaking community. This researcher has thirty years of direct involvement in the Breaking culture with twenty-two of those years as a practitioner in Phoenix, Arizona and co-founder of Furious Styles Crew, Arizona’s longest running Breaking crew. The development of WTW was drawn from this experience along with interviews and observations of Breaking communities worldwide. WTW intends to provide a reliable and consistent outlet during a time of instant gratification, allowing a space for self-discovery and the development of tools to be applied beyond movement. It is hoped that the format of WTW will be a model that can be adapted by other Breaking communities worldwide.
Dissertation/Thesis
Masters Thesis Dance 2015

碩士
中國文化大學
企業實務管理數位學習碩士在職專班
101
The 21st century will enter the era of experience economy. So in a competitive society, experiential marketing is the future mainstream business owners and customers trends and ideas. Therefore, the research questions explore hip-hop classroom Experiential Marketing (Experiential Marketing), customer satisfaction (customers satisfaction degree) and repurchase intentions (Repurchase-Intention), indirectly literature references and logic of reasoning further clarify each other relationship, developing strategies to provide industry reference. New Taipei City and Taipei's hip-hop classroom, the research adopted the simple convenience sampling, sent a total of 450 questionnaires were a total recovery of 425, net of the Tianda incomplete and gaps invalid questionnaires 18, a total of 407 questionnaires were complete, valid questionnaires recovery rate of 95.76%. The results of this study found that: (1) consumer structure men 28.3; women 71.1, significant differences between the male to female ratio. (2) In terms of age, the age of 20 years of age, 37.3%; 29.5% aged 21 to 25 years old; aged 26 to 30 years old was 20.9 per cent. Sum after 87.7% of the hip-hop classrooms consumers under the age of 30. (3) Students accounted for 52.3% of the overall sample proportion. (4) Experiential Marketing (emotional and thinking experience, related experience) has a significant positive correlation repurchase intention. (5) Experiential marketing (emotional thinking experience, related experience) has a significant positive correlation of customer satisfaction. (6) Repurchase intentions, customer satisfaction has a significant positive correlation. (7) Experiential Marketing (emotional and thinking experience, related experience) to have an impact through the mediating effect of customer satisfaction, repurchase intentions.

碩士
中國文化大學
舞蹈研究所
96
The purpose of this study was to explore the Taiwan hip-hop dance the research of cultural phenomenon–take Taipei megalopolis as an example.This study was conducted by the phenomenological method.Date were collected through one-on-one interviews with four hip-hop dancers.All data were documented in the form of recording and were dicated.The data were classified categorized,based on adjusted Colaizzi's content analysis. The result showed that the Taiwan hip-hop dance the research of cultural phenomenon could be summarized as the following four themes:The Taiwan hip-hop dances whole tendency,Taiwan and international interaction,hip-hop dancer idea of growth and decay,the social value of the hip-hop dancer.the following were the research findings： 1. The senior dancers thought that commercialization process is hip- hop dance of essences, but hopes not younger to commercialization enticement. 2.We must have the international view. 3.We must develop the place characteristic. 4.The senior dance hope the government to value hip-hop dance, and assists to promote hip-hop dance. The findings of this study could provide government and correlation units aspect,dance theater and dancer aspect and school aspect, understand Taiwan hip-hop culture it trend to provide reference and improvement.The results can also offer a foundation for background knowledge and related research in the future.

碩士
國立臺北藝術大學
舞蹈研究所
107
After I studied in dance at graduate school as a street dancer, I got an opportunity to teach Hip-hop dance in Zhuwei Elementary school through serendipity. I designed a unique Hip-hop curriculum that combined my Hip Hop dance experience and teaching method that I learned in graduate school. During the teaching process, I observed each student’s change and advance, also introspect my curriculum design from the records and feedbacks. During the weekly recording and analyze, I discovered some positive effects on my students. My research purposes are addressed as follows. 1. Examine the creative Hip Hop dance curriculum design and the effect of teaching. 2. Discuss the learning situation of elementary school students on creative Hip Hop dance curriculum. 3. Researcher could introspect during the teaching process and bring up some meaningful suggestions. My research combines action and research. The action includes research planning, curriculum designing, teaching, reflecting and fixing while teaching, exchanging in Japan, and reflecting after exchanging. The research findings include: the creative Hip Hop dance course could strengthen students’ body rhythm, body awareness, appreciation ability, and expression ability; students could choreograph with dance steps; free grouping allows students to learn teamwork; teacher’s image guide could arouse students' imagination of the effort graph of the movement; command games are helpful for class management, also enhance students' concentration. Researcher made changes and advances through the study. Therefore, the final chapter reflects on the curriculum and teaching. Then, according to the curriculum content, put forward suggestions and self-expectations for future research. Key words: Hip Hop dance, Curriculum design, Dance teaching

Participant loyalty and satisfaction with services offered on Street Dance Kemp Goal: Main goal of this thesis is to find a relationship between participant loyalty and satisfaction with services offered on Street Dance Kemp. Methods: In this thesis is used questionnaire and structured interview for obtaining data about participant satisfaction with services offered and about their loyalty to the event. Will be also examined the available competition in dance camps in Europe. To find a relationship between participant loyalty and satisfaction is used statistical method Kruskal-Wallis non-parametrical ANOVA. Results: Main result of this thesis is evaluation of the relationship between participant loyalty and satisfaction and future possible improvement of the services in order to get more loyal participants. Key words: sport event, street dance, hip-hop, questionnaire and interview, competition analysis, Kruskal-Wallis ANOVA

As the popularity of mashups attests, individual songs and their increasingly irrelevant prepackaged albums no longer seem to constitute a finished product to many who listen to them. Instead individual songs often serve as raw ingredients for use in another recipe – the playlist, the mix, the mashup – which those who buy the songs make and exchange. The strict division between producers and consumers, which the music industry exploited very productively throughout the twentieth century, seems to be breaking down, and I conclude that the mashup models a different, more fluid relationship between musical consumption and production. In this dissertation, I examine mashups from a music theoretical point of view. I argue that the mashup represents an important musical genre with distinguishing characteristics and its own historical development. Chapter 1 defines the mashup and devises a typology that classifies the genre based on two characteristics: number of songs combined and the mode of their combination (vertical or horizontal). This typology leads to the division of the mashup into four distinct subtypes. Chapter 2 discusses significant legal challenges raised by the mashup, especially with respect to copyright. Mashups – at least in recorded form – began as an underground, largely non-commercial phenomenon, due to the cost and difficulty of obtaining permission to use another artist’s recording. I also examine various pertinent musical lawsuits and discuss their influence on the way mashup artists make and distribute their works. Chapter 3 probes the historical factors that led to the development of mashups, including sampling in hip hop music (both recorded and live), collage techniques in art music, and looping and mixing by club DJs. Chapter 4 investigates the aesthetics of the mashup. Critics in the popular press and on the internet judge mashups without specifying the musical characteristics that make a particular mashup successful. This chapter seeks to locate the aesthetic principles that govern mashup production. Using commentary by mashup artists as well as transcription and analysis of several mashups, I divide these aesthetic principles into two categories: construction and meaning. I then develop a list of characteristics that mashup artists aim for when creating their tracks.
text

Na Maré, bairro do Rio de Janeiro formado por dezasseis favelas, encontra-se um dos mais fortes núcleos de dançarinos de break dance da cidade. Num meio onde os confrontos armados entre as fações do tráfico de drogas e a ação truculenta da polícia impõem constrangimentos à circulação dos moradores, esses dançarinos têm conseguido romper as dinâmicas de segregação. Várias vezes por semana, mais de quarenta jovens da Maré reúnem-se para treinar break dance em diferentes locais do bairro. Sem o controlo de professores, são eles que definem a lógica dos ensaios (locais de encontro, movimentos a ensaiar e músicas), num ambiente de intensa sociabilidade. A adesão à dança incentiva os b-boys a transpor as fronteiras da Maré. Alargam, assim, as suas redes de amizade e acedem aos múltiplos repertórios, saberes e estilos de vida presentes na cidade. Os dançarinos da Maré encontraram no break dance (e no hip hop) um modo criativo e eficaz de cultivar a sua subjetividade, partilhando estéticas, valores e símbolos que contrariam a atomização da vida urbana. É uma forma prazerosa e coletiva de buscar reconhecimento e dignidade, que os torna integrantes de uma prestigiante cultura global. Nesse processo, criam identidades positivas que contestam os estigmas e dispositivos de confinamento que os querem manter isolados e anónimos nos “territórios de pobreza”. Respeitados no circuito de hip hop, os b-boys da Maré utilizam a performance e a imaginação para desafiar simbolicamente as relações de hegemonia, de forma a subverter o seu lugar na hierarquia social.
In Maré, a Rio de Janeiro neighborhood, composed of sixteen favelas (shanty towns), exists one of the strongest cores of breakdancers in the city. In an atmosphere where armed conflicts between drug trafficking gangs and the truculent police action impose constraints on the customary life of the residents, these dancers have managed to break the dynamics of segregation. Several times a week, over forty young people from Maré, gather round to practice breakdancing in different places of the neighborhood. Without the control of teachers, they are who delineate the purpose of the rehearsals (venues, rehearsing movements and music), in an environment of intense sociability. The adherence to this dance encourages b-boys to cross the borders of Maré. Enlarging, this way, their friendship networks and accessing to multiple repertoires, knowledge and life style existing in the city itself. The dancers from Maré have found in breakdancing (and in hip hop) a creative and effective way to cultivate their subjectivity, sharing aesthetic, values and symbols that contradict the atomization existing in every metropolitan area. It is an enjoyable and collective way to seek recognition and dignity, becoming members of a prestigious global culture. In this process, they create positive identities that challenge the stigma and confinement devices that want to keep them isolated and anonymous in the so called "poverty areas". Respected in the hip hop circuit, the Maré b-boys make use of performance and imagination to defy symbolically the hegemony relations in order to subvert their place in the social hierarchy.

La présente recherche est une étude ethnographique d'une danse de rue hip-hop appelée «breaking» (communément appelée «breakdance») à Montréal dans ses divers contextes et occurrences. En particulier, elle vise à déterminer les changements esthétiques et socio-culturels qui se manifestent lorsque le contexte social ou vernaculaire du «breaking» est reconfiguré en oeuvre de danse contemporaine. Un examen historique de la forme de danse encadre l'exploration du «breaking» dans quatre contextes précis: le «freestyle cypher,» le «battle» organisé, la mise en vedette «freestyle» et le spectacle de danse contemporaine. Le transfert ou le glissement de contexte de la danse se décline en plusieurs niveaux: les participants (qui), l'esthétique et la forme (quoi), le lieu (où), la relation au temps (quand) et la raison d'être (pourquoi). Ces cinq catégories d'examen sont empruntées de la Theory and Methods for an Anthropological Study of Dance de l'anthropologue de danse américaine Joann Kealiinohomoku. La compréhension du transfert de la danse en divers contextes est inspirée par des modèles théoriques d'études en danses folkloriques. Le «freestyle cypher» reflète le contexte original participatif de la danse folklorique, souvent désignée comme première manifestation de danse. Les contextes subséquents suivent approximativement les trois principes de théâtralisation adaptés par le folkloriste canadien Andrij Nahachewsky lui-même inspiré du folkloriste ukrainien Kim Vasylenko. Selon ces principes, différents niveaux ou approches d'adaptation de la danse folklorique au théâtre sont appliqués à la danse d'origine. Le dernier principe rejoint l'approche de chorégraphes en danse contemporaine qui fusionnent le vocabulaire et l'esthétique du «breakdance» avec ceux de la danse contemporaine et du ballet. Ce processus est démontré dans une recherche sur le travail de deux compagnies de danse montréalaises, Rubberbandance Group sous la direction de Victor Quijada et Solid State Breakdance Collective sous la direction d'un groupe de chorégraphes-interprètes féminines. Les ramifications socio-culturelles d'un tel transfert sont complexes, surtout dans le milieu des arts de la scène. Le glissement, notamment d'un art populaire ou d'une danse vernaculaire, au «High Art» sous-tend une reconnaissance et un soutien institutionnels. Les divisions de la reconnaissance et le soutien se font souvent selon les ethnies. Néanmoins, les formes de danse non-occidentales réussissent, depuis quelques années, à infiltrer la danse contemporaine. Le «breaking», bien qu'elle soit une forme de danse née en Occident, illustre cela. Elle a été créée par de jeunes noirs et hispanophones du Bronx, un quartier défavorisé de New York, avant d'être largement assimilée par de jeunes Canadiens d'origines ethniques semblables, aussi issus de milieux défavorisés. Le travail de Rubberbandance Groupe et celui de Solid State Breakdance Collective questionnent les hiérarchies et se jouent des catégories. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Breaking (b-boying/b-girling), Danse vernaculaire Africaine Américaine, Danse contemporaine, Danse de représentation, Danse de participation, Appropriation, Hip hop.