To see the other types of publications on this topic, follow the link: Web dance.
Dissertations / Theses on the topic 'Web dance'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Web dance.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Hughes-Freeland, Felicia. "The search for sense dance in Yogyakarta /." Thesis, Online version, 1986. http://bibpurl.oclc.org/web/25886.
Full text
2
Nielsen, Eric Douglas 1977. "Web-tools for streamlining ballroom dance competition management." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29703.
Full textAbstract:
Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.<br>Includes bibliographical references (p. 465).<br>This thesis presents the design and development of the initial offerings in a potential suite of computer aids for ballroom dance competitions. The suite of tools is known by the name CompinaBox; while the initial module which handles on-line registration for competitions is named SlidingDoors. The tools have been developed using the PHP programming language a scripting language that is easily embeddable within the HTML used to create web-pages. The PostGreSQL database system is used to handle all data storage requirements. The registration component was selected as the initial tool because it provides the data needed by practically all of the other possible tools. SlidingDoors has been coded from scratch twice, under two radically different coding methodologies. The first was in accordance with "common" web-programming views and a completely dynamic page generation model. The second was along the more traditional software engineering model and used more static page generation. As the story of the tool development unfolds, trade-offs between the two approaches are discussed.<br>by Eric D. Nielsen.<br>M.Eng.
3
Mandan, Sherry. "Accessing the Neuromyofascial Web| Embodied Pathways to Healing in Dance/Movement Therapy." Thesis, Pacifica Graduate Institute, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=13425074.
Full textAbstract:
<p> The dance space is the warming hearth of the dancer’s heart and the active landscape in which the moving body plays, feels, and apprehends. This practice-led research study emerged from this somatic landscape assembling itself into a work choreographed around the motif of the neuromyofascial web as the architecture of the physical body and the conservator of its emotional life. A depth psychological perspective is employed to examine the fascial web’s influence on the retrieval of psychoactive content supporting the dance/movement therapy participant’s individuative process. The neuromyofascial web is explored through its restorative dynamics, stabilizing the physical body and releasing transformational content within the emotional body through the informing power of authentic movement. The tensegral nature of architectural design and the biotensegrity of the neuromyofascial web are evaluated as a therapeutic complement to the activities of dance/movement therapy, expanding the application of its principal protocols. A psychophysical analysis of the methodologies employed by American modern dance pioneers reveals their instinctual reliance on the neuromyofascial web and affirms authentic movement’s ancestral roots employed in the depth family of somatic therapies available today. Aspects of practice led research inspired a diagrammatic representation of the defining elements within kinesthetic experience and encouraged the creation of a movement manual for dance/movement therapists supporting the integration of movement and meaning. </p><p>
4
Andersen, Poul. "Taoist ritual texts and traditions with special reference to 'bugang', the cosmic dance." Online version, 1991. http://bibpurl.oclc.org/web/29968.
Full text
5
Brakel-Papenhuijzen, Clara. "The sacred bedhaya dances of the kratons of Surakarta and Yogyakarta." Voorburg : Departement van Onderwijs en Wetenschappen, 1988. http://bibpurl.oclc.org/web/23835.
Full text
6
Santos, João Francisco Silva Caeiro dos. "Relational navigation and archiving of multimedia information for contemporary dance." Master's thesis, Faculdade de Ciências e Tecnologia, 2012. http://hdl.handle.net/10362/8449.
Full textAbstract:
Dissertação para obtenção do Grau de Mestre em
Engenharia Informática<br>Technology continues to evolve at an incredible rate and with it, the number of people adhering to new digital trends. As the production of multimedia content such as photographs and videos becomes accessible to more people every year, so does the amount
of digital content increase exponentially. Consequently, it becomes a hard task to create systems in order to provide efficient storing and browsing of multimedia content.
Multimedia Web archives are one of the most popular solutions found for these issues.
By providing organized and connected information storage with efficient browsing and social networking features, these systems become the main platforms used to store and share photographs and videos in the internet.
This work is done in the scope of the TKB project: Transmedia Knowledge Base for Contemporary Dance and the goal of this thesis is to develop a system for multimedia information storage and relational content navigation. The analysis of multimedia archiving systems done throughout this thesis extends to those specific for Contemporary dance as it is one of the main focus of the work. The contents which will be integrated in the archive include typical multimedia information such as images and videos, as well as annotated videos exported from specific platforms. Connecting all the information within the archive through taxonomy and content hierarchy allows the definition of the intended relational approach. Setting connections between content and users allow the creation of graphs, which will serve as a basis for all the browsing, navigation and searching done throughout the system.<br>TKB project- A Transmedia Knowledge Base for contemporary dance(PTDC/EAT-AVP/098220/2008)
7
Chemello, Alessandra. "Webarte (em detalhes): o processo de recepção da obra de Webdança 96 Détails, da Cia. Mulleras." Universidade do Vale do Rio do Sinos, 2009. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2652.
Full textAbstract:
Made available in DSpace on 2015-03-05T18:25:05Z (GMT). No. of bitstreams: 0
Previous issue date: 29<br>Nenhuma<br>Esta pesquisa trata da webarte, modalidade artística que dialoga com os preceitos da arte e das tecnologias digitais de comunicação em rede, focalizando a reconfiguração do papel do receptor/usuário na composição das relações entre artista, obra e público. Tem como objetivo geral investigar o processo de recepção da obra de webdança 96 Détails, criada pela Cia. Mulleras, buscando compreender como se efetiva a participação do usuário neste processo. Para dar conta deste objetivos foram trabalhadas, teórica e metodologicamente, as seguintes dimensões, constituintes desse processo comunicacional e artístico: a obra, o(s) artista(s) e o receptor, que nesse contexto é referido como usuário. O arcabouço teórico foi constituído por conceitos dos campos da Arte e da Comunicação, buscando adequá-los à compreensão dos aspectos requeridos pelo problema, relacionados ao universo híbrido da webarte e, mais especificamente da webdança e à sua recepção. A interatividade, nesse recorte, foi pensada como a especificidade que<br>This study deals with web art, an artistic modality that interacts with the concepts of art and digital technologies of network communication, focusing on the reconfiguration of the role of receiver/user in the development of relationships between artist, work and audience. The general aim is to investigate the reception process of the web dance work 96 Détails, created by Cia. Mulleras, as an attempt to understand how the participation of the user in this process takes place. To reach such objective, the following dimensions, which are part of this communicational and artistic process, are theoretically and methodologically discussed: the work, the artist(s) and the receiver, which is referred to as user. The theoretical background was comprised of Art and Communication concepts, aiming to adequate them to the understanding of aspects required by the problem, related to the hybrid universe of web art and, more specifically, web dance and its reception. Interactivity, in such context, was thought of as the s
8
Ayca, Aykut. "Development Of A Web Gis-based Tsunami Inundation Mapping Service." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614404/index.pdf.
Full textAbstract:
Tsunamis, as the catastrophic disasters, can cause loss of live and property when they come to the shores. Preparation of emergency plans is essential to reduce the damage. Consequently, any initiative in tsunami modeling and inundation mapping is of vital importance for progressing safety surveillance and maintenance.
In an effort to achieve a thorough analysis of effect of tsunami, it is critical to estimate the geographical extent of possibly affected area and to predict tsunami impacts. The inundation mapping system also must serve to manage the simulation data in a scalable environment to reach end-users in the time of event. For this purpose, in this study, the generation of a Web based Geographic Information System (GIS) to serve inundation maps through web.
The research methodology consists of four main stages: (i) simulating tsunamis based on six different scenarios (ii) processing simulation data through a GIS application<br>(iii) development of web interfaces and implementation of the developed model for Web-GIS application<br>(iv) verification of the created model for Marmara Sea Region. The proposed system is expected to be an efficient tool for improving inundation mapping efforts for expected tsunamis in Turkey.
9
Harlig, Alexandra M. "Social Texts, Social Audiences, Social Worlds: The Circulation of Popular Dance on YouTube." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1557161706452516.
Full text
10
Verdonk, Peter. "How can we know the dancer from the dance ? : some literary stylistic studies of English poetry /." [S.l.] : P. Verdonk, 1988. http://catalogue.bnf.fr/ark:/12148/cb35014160c.
Full text
11
Pagel, Amber Noelle. ""How Can We Know the Dancer from the Dance?": Cognitive Poetics and the Poetry of William Butler Yeats's." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984126/.
Full textAbstract:
Cognitive poetics, the recently developed field of literary theory which utilizes principles from cognitive science and cognitive linguistics to examine literature, is applied in this study to an exploration of the poetry of William Butler Yeats. The theoretical foundation for this approach is embodiment theory, the concept from cognitive linguistics that language is an embodied phenomenon and that meaning and meaning construction are bodily processes grounded in our sensorimotor experiences. A systematic analysis including conceptual metaphors, image schemas, cognitive mappings, mental spaces, and cognitive grammar is applied here to selected poems of Yeats to discover how these models can inform our readings of these poems. Special attention is devoted to Yeats's interest in the mind's eye, his crafting of syntax in stanzaic development, his atemporalization through grammar, and the antinomies which converge in selected symbols from his poems.
12
Eslamboli, Leila. "Shall we dance? : a study of the art of dance and social responsibility." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81486.
Full textAbstract:
The discussion over whether arts education has an impact on social responsibility has been an interesting field of investigation in the educational realm. Although there still remains a dearth of information surrounding this issue, past research in the field has shed light on the importance of art and aesthetic education. Building upon prior research, this study offers a critical investigation into issues linking social responsibility and arts and aesthetic education. At the core of this study, through the use of a phenomenological framework, insight was offered into whether students' perceptions of a dance program in one British Columbia school assisted them in constructing a more advanced notion of their role in social responsibility. The overall results suggest that the participants believe that the dance program has assisted them in understanding and fulfilling their role in being socially responsible.
13
Baker, Jacqueline R. "Shall We Dance? Teaching Parents the Communication Dance to Enhance Generalized Communication in Their Children." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500157/.
Full textAbstract:
Children diagnosed with autism exhibit deficits in communication that impact their ability to control their immediate environment. Recent research on mand training has been criticized for producing a limited number of mand topographies over a long span of time with limited generalization to novel environments. There is a body of research, however, that successfully establishes larger repertoires. Training parents as change agents may mediate generalization by teaching under naturally maintaining contingencies. Additional effects of parent training may reduce parent reports of stress, increase favorable quality of parent-child interactions, and increase reports of parental self-efficacy. The current study evaluated the effects of a generalized training framework to teach parents how to target generalized mands and expand their child’s communicative topographies. The effects of the training were evaluated using a non-concurrent multiple baseline across participants and skills. Results indicated that parents were able to effectively teach their child to mand for a variety of items and events and to substantially increase the number of different mand topographies and expand the topographies the child emitted. Parents were observed to have higher overall confidence and lower overall stress following intervention. The current study builds on previous research on generalized teaching strategies for parents that are effective in teaching a variety of responses to the child.
14
Schönborn, Julia [Verfasser], and Werner [Akademischer Betreuer] Frick. ""Danke für Deinen Eintrag ins Logbuch" : literarische Massenkommunikation im Social Web." Freiburg : Universität, 2015. http://d-nb.info/1120626374/34.
Full text
15
Denton, Margaret Abbie. "Joanna Priest : her place in Adelaide's dance history /." Title page, abstract and contents only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armd415.pdf.
Full text
16
Oh, Sun Myung Pradier Jean-Marie. "Recherche sur l'identité et l'identification de la danse contemporaine coréenne à travers les Rencontres chorégraphiques internationales de Seine Saint-Denis et la Biennale de la Danse de Lyon /." Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/OhThese.pdf.
Full text
17
Ott, Dorothee. "Shall we dance and sing? zeitgenössische Musical- und Tanzfilme." Konstanz UVK-Verl.-Ges, 2007. http://d-nb.info/986829439/04.
Full text
18
Grillo, Christel. "Proposta traduttiva della sezione École de Danse del sito web dell’Opéra de Paris." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amslaurea.unibo.it/7144/.
Full textAbstract:
Con questa tesi intendo presentare la mia proposta di traduzione della sezione “École de danse” del sito internet www.operadeparis.fr. Considerato che il numero di pagine previsto per l’elaborato finale di una laurea triennale è estremamente ridotto, sono stata costretta a fare una selezione delle parti da tradurre. La traduzione dell’intero sito web, infatti, avrebbe richiesto una trattazione molto più lunga e dettagliata, in quanto le informazioni riportate e gli argomenti affrontati sono davvero innumerevoli. Pertanto, ho scelto di incentrare il mio lavoro su quelle che sono le mie passioni: da un lato il chiodo fisso per la danza, arte che pratico da quando ero bambina e che adesso insegno ai più piccoli; dall’altro, l’amore per la Francia e, più nello specifico, per Parigi. Di conseguenza, mi è sembrato doveroso rendere omaggio a Parigi e alla danza applicando le mie conoscenze linguistiche all’ambito traduttivo.
La mia tesi si articola dunque come segue. Il primo capitolo si focalizza sul concetto di lingua speciale, grazie all’approfondimento personale di testi sulla didattica e sulla prassi della traduzione specializzata, con particolare attenzione alla lingua speciale della danza. Nel secondo capitolo, affronterò la particolare modalità di scrittura del web, sul quale si incentra la mia traduzione, che sarà presentata immediatamente a seguire, nel terzo capitolo. Al termine della mia proposta traduttiva, sarà possibile trovare tutti i miei commenti relativamente agli aspetti morfosintattici, lessicali e terminologici presenti nelle parti da me selezionate al fine della traduzione. Per concludere, qualche osservazione finale sulla stesura dell’intero elaborato finale e bibliografia e sitografia da me consultate a supporto del mio lavoro di ricerca.
19
Bardet, Marie Douailler Stéphane González Horacio. "Philosophie des corps en mouvement." Saint-Denis : Université de Paris 8, 2009. http://www.bu.univ-paris8.fr/web/collections/theses/BardetThese.pdf.
Full text
20
Hardwick, Kathryn Gay. "Slovenian music and dance in Adelaide : the preservation of urban-ethnic music /." Title page, contents and introduction only, 1995. http://web4.library.adelaide.edu.au/theses/09AR/09arh267.pdf.
Full text
21
Chiang, Ka I. "Shall we dance? :identity, sensation and futures in Macao's ballet community." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2568873.
Full text
22
Eliott, Jaklin. "Achievement motivation : its role in the incidence of extreme eating behaviours in female modern dance students /." Title page, contents and abstract only, 1994. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpse42.pdf.
Full text
23
Bozic, Yams Nina. "Dancing innovation : How can we use knowledge from contemporary dance to enable innovation in organisations?" Licentiate thesis, Mälardalens högskola, Akademin för innovation, design och teknik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-24532.
Full textAbstract:
In today´s fast changing global environment, organizations from both private and public sectors are under an increased pressure to continuously change and adapt in order to survive and provide meaningful services and products to their users. Innovation has therefore become an on-going effort that is not only a matter of R&D and product development departments, but rather a responsibility of all employees. To think how products, services, processes, methods and business models can be constantly improved or replaced by new ones is becoming a core competence needed across organization. While many organizations in Sweden have already developed a capability to innovate incrementally through continuous improvements, they often struggle to innovate radically by engaging the talent, knowledge and skills of all employees. In this thesis we thus look at how organizations could enable employees to strengthen their ability to innovate and move from incremental towards more radical innovation. Insights from the practice of contemporary dance groups were used for inspiration, exploring how dancers work in their creative processes and what enables them to move from ideas towards developing a new performance. Since there is very limited literature about the connection between contemporary dance practice and organizational innovation, we tried to build our own framework based on empirical data. In the first study, 20 semi-structures interviews with choreographers from different countries were performed and a model with key phases, tools and enablers of innovation process from choreographic perspective developed. The model was then compared with innovation management theory and empirical data from the industry to identify similarities and differences between the innovation concepts and practice in dance and business. In the second study the model was tested in practice through participatory action research with 27 participants from different companies and public sector. The study explored how principles and methods from contemporary dance and choreography could be applied to enable innovation in organizational context and what are the effects and limitations of using knowledge from contemporary dance to enable innovation in organizations. The main contribution of the research presented in this thesis is the conceptual framework about innovation process, tools and enablers from a choreographic perspective and a proposed practical method for applying it in organizational context which was developed as a part of the research. Several examples of how practitioners from business and public sector experienced dance-based methods and then translated them into their own working environment to support innovation are presented.<br>Dagens snabbföränderliga och globala miljö sätter både privata och offentliga organisationer under ökad press att ständigt förändra och anpassa sig för att kunna överleva och erbjuda meningsfulla tjänster och produkter till sina användare. Innovation är därför en pågående insats som inte bara är en fråga för FoU och produktutvecklingsavdelningar, utan är istället ett ansvar för alla anställda. Att tänka på hur produkter, tjänster, processer, metoder och affärsmodeller kan bli bättre eller ersättas med nya, blir en kärnkompetens som behövs i hela organisationen. Samtidigt som många organisationer i Sverige redan utvecklat en förmåga att förnya sig stegvis genom ständiga förbättringar, kämpar de ofta med så kallad radikal innovation där talang, kunskap och kompetens från alla anställda involveras. I den här avhandlingen utforskas hur organisationer kan göra det möjligt för anställda att stärka sin innovationsförmåga, från att vara inkrementellt till att bli mer i enlighet med radikal innovation. Insikter från samtida dansgrupper har använts för inspiration. Vi har studerat hur dansare arbetar i kreativa processer och vad som gör det möjligt för dem att gå från idéer till att utveckla ny föreställning. Eftersom det finns mycket lite litteratur kring sambandet mellan praxis inom samtida dans och innovation i organisationer, har vi sökt att bygga en egen modell utifrån empiriska data. I den första studien genomfördes 20 stycken semi-strukturerade intervjuer med koreografer från olika länder. Utifrån detta utvecklas en modell som innehåller viktiga faser, verktyg och möjliggörare i innovationsprocessen från ett koreografiskt perspektiv. Modellen har sedan jämförts med innovationsledningsteori och empiriska data från industrin för att identifiera likheter och skillnader när det gäller innovationskoncept och praxis, mellan samtida dans och näringslivet. I den andra studien testades modellen i praktiken genom deltagarbaserad forskning med 27 representanter från olika företag och den offentliga sektorn. Studien undersökte hur principer och metoder från samtida dans och koreografi kan tillämpas för att möjliggöra innovation i organisatoriska sammanhang och vilka effekter och begränsningar som finns när det gäller att använda kunskap från samtida dans för att möjliggöra innovation i organisationer. Det viktigaste bidraget till forskning som presenteras i denna avhandling är den konceptuella modellen av innovationsprocessen, verktyg och möjliggörare från ett koreografiskt perspektiv samt förslag på praktisk metod för att tillämpa den i organisatoriska sammanhang som har utvecklats som en del av forskningen. Flera exempel presenteras på hur verksamma i näringslivet och offentlig sektor upplevt dansbaserade metoder och sedan översatt dem till sin egen arbetsmiljö för att stödja innovation.
24
Núñez, Johnna Carlene. "We dance with spirit understanding spiritual healing from the wisdom of spirit workers /." Laramie, Wyo. : University of Wyoming, 2009. http://proquest.umi.com/pqdweb?did=1940123751&sid=1&Fmt=2&clientId=18949&RQT=309&VName=PQD.
Full text
25
Watson, Maurice Shawnte. "We were here." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1793.
Full textAbstract:
Illness. A secret. Feeling alone? Have you ever kept a secret? A life-changing secret that keeps you secluded, isolated, and contained in a bubble, lonely and empty? The daily struggle of coping with your own secret, yet feeling like everyone you come in contact with already knows, takes its toll in the lives of those who carry the burden of a chronic disease. While dealing with judgmental thoughts, and the scrutinizing gaze from others, do we think that the stigma of a medical diagnosis affects our ability to love someone? More specifically, how about being capable of allowing someone to love you knowing that you are HIV positive?
In We Were Here, the choreographic research speaks directly to the topic of secrecy and isolation through song, dance, poetry, and videography of people living with life-threatening diseases in today’s society. This piece will take the audience on a short journey through the lives of seven individuals who seek to find peace and understanding in revealing their conditions to their family, friends and loved ones. In seven different journeys, through the highs and lows of coping with a chronic disease, the silver lining of WE WERE HERE, provides a friendly reminder that everyone needs somebody, sometimes.
26
Brandão, Ana Carolina de Laurentiis. "Shall we dance? Colaboração e histórias do processo de busca por parceiros de tandem." Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/15396.
Full textAbstract:
This dissertation aims at narrating and describing the searching process of tandem partners
experienced by Language Graduation students from a university in the state of Mato Grosso,
and by me, as monitor of this process. More specifically, this research aims at discussing the
collaboration in this process. These students participated in an extension project related to
Portuguese teaching and English or Spanish learning in-tandem via MSN Messenger. Among
the participants of this study, were the students who chose to learn English in the project. This
dissertation had as theoretical references, studies about computer assisted language learning
(BAX, 2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), the
sociointeractionist perspective (VYGOSTKY, 1998), conceptions about collaborative and
cooperative learning (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), as well as
studies about tandem context (BRAMMERTS, 1996; BRAMMERTS; CALVERT, 2003;
CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). The theoretical-methodological
approach adopted was the Narrative Inquiry, according to Clandinin and Connelly (2000;
2005). The field texts were composed of introductory texts that were part of the profile
created in sites of linguistic exchange, messages sent by the students to members in sites of
linguistic exchange, interactions between these students and the members via theses sites or
via MSN Messenger, and narratives written by them and by me during the project meetings.
The analysis of this material was based on Meaning Composing, according to Ely, Vinz,
Downing and Anzul (2001). Using a metaphorical language, tandem as ballroom dancing, it
was possible to realize through this study that the attempts made by the participants to invite
people to dance tandem were not collaborative invitations, that is, they were not like a shall
we dance? , but like an imposition, a Dance with me! . The lack of collaboration in the
invitations is associated here to tandem principles (reciprocity and autonomy), and to
language learning and teaching conceptions that the participants brought to this experience.<br>Este trabalho tem como objetivo narrar e descrever o processo de busca por parceiros de
tandem, vivenciado por alunas do curso de Letras de uma universidade do estado de Mato
Grosso, e por mim, enquanto monitora desse processo. Mais especificamente, esta pesquisa se
propõe a problematizar a colaboração nesse processo. As alunas em questão estavam
engajadas em um projeto de extensão, envolvendo o ensino de língua portuguesa e a
aprendizagem de língua inglesa ou espanhola via MSN Messenger. Participaram desse estudo
apenas as alunas que optaram por aprender a língua inglesa no projeto. Este trabalho teve
como aporte teórico, estudos sobre aprendizagem de língua mediada por computador (BAX,
2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), a perspectiva
sóciointeracionista (VYGOSTKY, 1998), concepções sobre aprendizagem colaborativa e
cooperativa (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), e estudos
sobre aprendizagem em contexto de tandem (BRAMMERTS, 1996; BRAMMERTS;
CALVERT, 2003; CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). A abordagem
teórico-metodológica adotada foi a Pesquisa Narrativa, segundo Clandinin e Connelly (2000,
2005). A composição do material documentário se deu por meio de textos introdutórios
postados nos perfis de sites de intercambio linguístico, mensagens de convite enviadas pelas
alunas-participantes a membros de sites de intercâmbio linguístico, interações entre essas
alunas e os membros nos próprios sites e no MSN Messenger, além de narrativas escritas por
elas e por mim ao longo do projeto de extensão. Esse material foi analisado com base na
Composição de Sentidos, conforme Ely, Vinz, Downing e Anzul (2001). Lançando mão de
uma linguagem metafórica, o tandem como uma dança de salão, foi possível perceber através
desta pesquisa que as tentativas de tirar pessoas para dançar tandem, feitas pelas alunasparticipantes,
não se constituíram como convites colaborativos, isto é, não foram um shall we
dance?, mas uma imposição, um dance with me!. A não colaboração dos convites foi
relacionada aqui aos princípios norteadores do contexto de tandem (reciprocidade e
autonomia), e a concepções de ensinoaprendizagem de língua que as participantes traziam
consigo.<br>Mestre em Estudos Linguísticos
27
Meadows, Bethany. "We came 2 get down| A history of pop locking in Los Angeles." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527017.
Full textAbstract:
<p> This study draws a rich, vivid portrait of a marginalized and hidden dance community and how it made a visible impact on the mainstream and in countries around the world. In the 1980s black and Latino teens in Los Angeles performed a street dance called pop locking. During this time dancing helped keep urban teens out of gangs and create positive identities. In the 1990s pop locking went underground, but less than ten years later returned in areas outside of Los Angeles. This allowed 1980s dancers to serve as teachers and mentors to new dancers. </p><p> Twenty-seven pop lockers who danced from the 1980s to the 2000s were interviewed from June 2010 to July 2013. These interviews capture the history of the dance that started on the streets of California. Participant observation was conducted at Homeland Cultural Center in Long Beach, which is a hub for pop locking in Southern California.</p>
28
Sanchez, Victoria Eugenie. ""As Long As We Dance We Shall Know Who We Are" : a study of off-reservation traditional intertribal powwows in Central Ohio /." The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392307814.
Full text
29
Roy, Sylvie. "We are Still Dancing: Métis Women’s Voices on Dance as a Restorative Praxis for Wellbeing." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34612.
Full textAbstract:
The purpose of this work is to center dance at the heart of Métis identity expressions, where reconnecting with who we are through dance is intimately grounded within an Indigenous understanding of restoring wellbeing. Exploring the experiences of four prominent Métis women allowed a space to celebrate the voice of dancers as they make sense of what it means to practice Métis dance within their lives. This research further focuses on the experiences of Métis dance as an understanding of Indigenous wellbeing. The lived experiences were collected and reviewed within an Indigenous research framework grounded in the Cree and Métis values of Mino-pimatisiwin (good life) and Wahkotowin (kinship) (Hart, 1999; Kelsey, 2008). Both concepts deeply inform the processes related to our reciprocal relationship to all things, living and non-living and further place emphasis on our shared responsibility to honour, respect and acknowledge Indigenous knowledge and its value to our communities. There were three findings that emerged from this study: Understanding Métis dance (1) as a restorative and relational praxis of self-knowing; 2) as intergenerational knowledge transfer; 3) as a site for growing cultural awareness and self esteem. The voices of the women celebrate Métis peoplehood through the restorative practice of dance and in doing so allow us to un-settle and re-center the notion of Métis identity and dispel the question of “authenticity” (Lawrence, 2003). These are our own personal stories to tell, and only we can rewrite them in a way that is beneficial and meaningful to us.
30
Dennis, Harold Edward Brokaw. "How We Saved The World [Score]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254225.
Full textAbstract:
Music Composition<br>D.M.A.<br>A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material.<br>Temple University--Theses
31
Dennis, Harold Edward Brokaw. "How We Saved The World [sound recording]." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254226.
Full textAbstract:
Music Composition<br>D.M.A.<br>A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material.<br>Temple University--Theses
32
Rocha-Thomas, Sinead-Elouise. "Do we dance because we walk? : the impact of regular vestibular experience on the early development of beat production and perception." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/361/.
Full textAbstract:
Movement to music is a universal human behaviour (Savage, Brown, Sakai & Currie, 2015). Whilst the strong link between music and movement is clearly bidirectional, the origins are not clear. Studying the emergence of rhythmic skills through infancy provides a window into the perceptual and physical attributes, experience, and contexts necessary, to attain the basics of human musicality. This thesis asks whether the human experience of bipedal locomotion, as a primary source of regular vestibular information, is crucial for sensorimotor synchronisation (SMS), spontaneous motor tempo (SMT), and impacts rhythm perception. The first experiment evidences the emergence of tempo-flexibility when moving to music between 10- and 18-months-of-age. The following study is the first to show that experience of locomotion, including from infant carrying, predicts the temporal matching of infant movement to music. Curious if carrying practices influence the very rhythms that we naturally produce, a large-scale correlational study finds infant SMT is predicted by parent height, but not infant's own body size, such that infants with taller caregivers show a slower SMT than those with shorter caregivers. We contend that this reflects infant experience of being carried by their caregiver. The fourth experiment confirms that experience of being carried at a novel tempo can alter the rhythms infant spontaneously produce. Finally, we asked how information from being carried during locomotion might be changing rhythm perception; specifically, if infants show greater activation of their sensorimotor system when hearing rhythms that match the tempo at which they were carried. Combined, these studies present a highly original piece of research into the ways in which early experiences of locomotion may impact fundamental musical skill.
33
Dennis, Harold Edward Brokaw. "How We Saved the World: A Multimedia Musical Drama." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254032.
Full textAbstract:
Music Composition<br>D.M.A.<br>A monograph on the musical composition How We Saved the World, a multimedia musical drama written by the author, describes in detail the history of the writing of the piece, its context within his development as a composer, its context within our times, the writing and structure of the libretto, the characters and character types within the piece, their relationships with one another, the music of the piece and its construction. The two hour long composition requires 44 performers to stage: 14 singers, 8 dancers, and a conducted 21 piece orchestra. In addition to traditional acoustic instruments (winds, brass, percussion, strings) the orchestra includes electric guitars, drum set, and audio and video laptop performers. How We Saved the World is situated in a future time and begins with the premise that the world has been saved. Human beings have found a way to live in peace and harmony with one another and with the ecology of our planet Earth. We, the participants in the performance are sharing among ourselves the story of how human culture changed from the destructive, unsustainable practices and consciousness of the past. The libretto is included as an appendix. The score and all of the audio files needed to perform the piece are included as supplementary material.<br>Temple University--Theses
34
Mansour, Catherine A. "Shall we dance? : investigating protein interactions implicated in Escherichia coli postreplicative mismatch repair using a bacterial two hybrid system." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0019/MQ54291.pdf.
Full text
35
Hagstedt, Julia. "Film as a reality creating force: And Then We Danced (2019) dir. Levan Akin." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21042.
Full textAbstract:
In this thesis, I have analyzed and problematized the discourse surrounding And Then We Danced (2019) dir. Levan Akin, by analyzing the film itself by using concepts from Pierre Bourdieu, and investigating what role the film has played in the call for action regarding LGBTQ+ rights in Georgia. I sought out to answer the research questions of how the film And Then We Danced (2019) portrays how one can adapt ones habitus and social field, how the film provoked the political discussion about LGBTQ+ rights in Georgia, and how the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia. Using Bourdieu, I came to the conclusion that the film portrays how one can adapt ones habitus and social field through Merab’s character arc in the film, and the director used his cultural capital (embodied, institutionalized, and objectified) to not only produce the film itself, but giving a social subfield (Georgia’s LGBTQ+ community) acknowledgment and recognition by involving them in his film. Because of the reaction the film received, it amplified the need for social change in Georgia, reaching news across the globe, putting the rights of LGBTQ+ people in Georgia on the global political agenda. The way the reception the film received reflected where Georgia, Sweden and the EU stands regarding the road to LGBTQ+ rights in Georgia is quite accurate to where they stand politically regarding the issue. Georgia is divided on the issue as they both protested against the film while simultaneously selling out out all of their tickets to see the film, Sweden remained supportive and proud of the film throughout the entire process, and the EU much like Georgia is quite divided as they both funded the film, but does not have a united front on where they stand regarding the issue.
36
Grapin, Scott. "Grind the ink, wet the brush, dance the pine tree reading and writing nature with Gary Snyder's Riprap and Mountains and rivers without end /." Click here for download, 2008. http://proquest.umi.com/pqdweb?did=1564017691&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
Full text
37
Paterson, Adrian. "'Words for music perhaps' : W.B. Yeats and musical sense." Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:d288984c-254a-40bc-b13d-b8790cc8226c.
Full textAbstract:
‘Poetry’ insisted Ezra Pound, ‘is a composition of words set to music’: his Cantos remembered ‘Uncle Willie’ downstairs composing, singing poetry to himself. This study examines the nature and effects of W.B.Yeats’s idiosyncratic but profound sense of music. For his poems were compositions set to music. They were saturated with musical themes; syntactically he professed to write for the ear rather than the eye; and he flung himself repeatedly into the breach between music and words, composing ballads, songs, and plays with music, and performing poetry with musical instruments. My thesis is that nature of poetry, spoken, read or sung, obsessed Yeats, and I hold it self evident that such an acutely self-conscious poetry will articulate this obsession: to use his own imagery, will bear the scars of its own birth. What follows is a study of meaning, obsession, and influence, beginning with what Yeats knew and how he came to poetry: his father’s and his own vocalizations of the musical preoccupations of Scott and Shelley, viewed through the annotations of ‘the first book [he] knew Shelley in’ and the solipsistic singers and instrumentalists of his early verse. The theme of chapter two is Ireland: the musical resonances of Anglo Irish ballads and Irish verse are viewed through Yeats’s aurally-oriented canon-formation, as we examine his instinctual recitations and deliberate approach to Irish folksong through the mediation of Douglas Hyde. The aesthetics of Wagner, Pater, and the French symbolistes frame the third chapter, which describes how poetry might approach the condition of music in the motivic organization of The Wind Among the Reeds. In chapter four the impact of Nietzsche’s profoundly musical philosophy is correlated for the first time with the exact moments of Yeats’s discovery of his texts, as Yeats’s plays and poetry move from ‘Apollonian’ languor to ‘Dionysian’ energy, from dream to song and dance. My final chapter uncovers the long history of the practical experiments Yeats made to perform poetry with a ‘psaltery’, and their resonating afterlife in subsequent poetry and poets. No musician himself, Yeats’s musical sense has until now been entirely dismissed: this study shows how central it is to his art and to an understanding of the dominant aesthetic of the age.
38
Coulter, Maureen Elizabeth. "The eroticised body and the transcendent word: Representations of the dancer in the works of Théophile Gautier, Arthur Symons and W.B. Yeats." Thesis, University of Canterbury. English, 2004. http://hdl.handle.net/10092/4584.
Full textAbstract:
For a number of French and English writers of the mid to late nineteenth century and early twentieth century, the dancer was a central aesthetic symbol. These writers felt alienated from bourgeois society, so they raised art - in particular poetry - almost to the status of religion, with themselves as its priests. Accordingly, art, and the dancer as a symbol of art, were represented as antithetical to all they abhorred. Because bourgeois life was seen as philistine and utilitarian, and dominated by a faith in scientific and economic progress, art could have no purpose other than to exist as pure, transcendent beauty, beauty that was desired, but unattainable; and because bourgeois society was hypocritical, puritanical and bound by rules, art should be free in both expression and form.
Western art has a long Platonist tradition that readily transposed to the Petrarchan worship of the unattainable goddess; it is unsurprising therefore that the beautiful woman dancing on the stage came to be seen as a symbol for art that is remote and spiritual. According to nineteenth-century gender attitudes, however, dancing woman is also seen as sexually available, hence she is the disruptive Other to bourgeois society. Thus, as a symbol for art, the dancer is a site of irreconcilable contradiction: she is both transcendent art, and erotic woman, or, conversely, erotic art, and transcendent woman.
This thesis is concerned with the representation of the dancer as a symbol of art, with its contradictions, in the work of three writers, Théophile Gautier, the nineteenth-century proponent of I'art pour I'art, Arthur Symons the English fin-de-siècle, Decadent writer, and W.B. Yeats, the Irish Symbolist writer. For these writers, the dancer, as a symbol for art, is also a threat: they identify with her because she is female and Other to patriarchal society, but fear losing their masculine identity as a consequence. Although they attempt to do so, neither Gautier, nor Symons, nor Yeats resolves the contradictions that their choice of the dancer as a symbol of art presents. For all three writers, to a lesser or greater degree, there is continual oscillation between seeing the dancer as pure art, and erotic woman.
39
Park, Hannah. "MOVING TOWARD "WE ARE!": ENHANCING CULTURALLY RELEVANT CREATIVE MOVEMENT PEDAGOGY FOR URBAN CHILDREN BY EXPLORING PERCEPTIONS OF SELF AND OTHER." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/145139.
Full textAbstract:
Dance<br>Ph.D.<br>This study explored best practices for teaching creative movement to twenty-four urban second graders by examining their perceptions of self and others. Creative movement education programs rarely focus on the exploration of self and group identity through the lens of diversity. More importantly, few studies have examined how to implement creative movement programs through pedagogies best suited to urban children. Over 12 weeks of practice, observation, and reflection, extensive data were collected regarding the children's interactions and creative processes. The curriculum focused on individual and group identities and examined the experiences of the children with the aim of developing pedagogical methods that best suited their urban cultural backgrounds. The study sought to answer the following research questions: 1) What are the children's perceptions of themselves and others throughout the creative movement learning process? ; and 2) How can teachers use this knowledge to devise creative dance pedagogy for urban children and create holistic curricula that develop these perceptions? During bi-weekly dance sessions, the students and teachers explored the concepts of "self" and "group" by moving, discussing, sharing different dance styles and images, using props and being actively involved in creative movement and expression. The project culminated in a school performance, in which the children presented dances that they had developed that represented the content explored in the sessions. The data collected included video recordings of the children's actions and comments, reflective drawings and texts that the children created, and observational notes recorded by an assistant teacher and the children's homeroom teacher. The video recordings of each session were transcribed and analyzed. The children's drawings and written texts, and the teacher's observational and reflective journals, were also reviewed. All data collection involved in the study was approved by the Institutional Review Board (IRB) for human subject protocol. A qualitative research approach guided the analysis, with a focus on Action Research and ideas drawn from the philosophical doctrines of Phenomenology and Phenomenography. The recorded video sessions and resulting transcriptions were used to create narrative descriptions that shed light on the children's experiences and uncovered specific elements that were of use in the development and refinement of creative movement teaching practices. Despite presenting occasional challenges as a group, the children spontaneously improvised and developed movements that expressed their preferences. They used the class as a creative outlet-aesthetically, physically and, at times, emotionally. The children danced to express their individual and group cultures as well as their movement preferences, their personal traits, and their perceptions of others. The pedagogical approach to the class promoted identity and diversity in the teaching and learning environment, providing teachers with insight into best practices for teaching urban populations. The study's Action Research methodology involved a reflective cycle of planning, action, and result. It investigated students' perceptions of themselves and others through their responses to creative movement education, and studied how these perceptions impacted creative movement facilitation. It discovered best practices that take into account students' unique cultures and learning styles. These practices can be used as a foundation for facilitators of creative movement classes involving urban children, enabling the development of curricula that explore experience, promote cultural expression, and foster diversity in learning. They also offer disciplinary strategies that cater to the environmental standards and unique needs of urban students.<br>Temple University--Theses
40
Sharir, Yacov. "Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1498.
Full textAbstract:
This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.
41
Rajala, Gregory J. "Active dance control for web handling machines." 1995. http://catalog.hathitrust.org/api/volumes/oclc/34103993.html.
Full textAbstract:
Thesis (M.S.)--University of Wisconsin--Madison, 1995.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 87-88).
42
Kuo, Sheng-Hsiung, and 郭勝雄. "Applying Audio-Video Technology to Construct a Web-based System for Assisting Dance Instruction." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/61072472457698107498.
Full textAbstract:
碩士<br>國立臺中技術學院<br>多媒體設計研究所<br>95<br>Dance education is a kind of art education that includes the aesthetic movement of human body. Since the movement involves body, time and space, the instruction processes are often conducted in individual basis. Therefore, the elaboration of various possibilities of using modern multimedia technologies to enhance the dance education seems plausible. This research is an attempt to realize an integrated application of audio-video and information technology to enable the dance education overcoming the restriction of time and space by establishing a web-based interactive system as the instructional platform. This environment of instruction enables dance education to enter the stage of utilizing information and multimedia technology in the performing arts category. The approach is also echoing the government’s efforts in integrating information and computer technology（ICT）into various pedagogical styles. The system facilitates dance instructors with an integrated environment to produce audio-video pedagogic dance clips for students. The students（dance learners）are provided with web tools to fetch these clips for reviewing and mimicking. They can also make their own clips, contrast them with the demonstration through a synchronized twin-window interface provided by our system. The making of the system has gone through a formal requirements elicitation process and exposed to dance instructors and learners for usability study. The initial responses from these users are quite positive. More extensive users testing and feedback may lead to practical improvements to this prototype system.
43
Pan, Wei-Lin, and 潘威麟. "Prototypical Design and Researches on the "Creative Dance"-based CAI Web Platform for Elementary School Teachers." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/27457651103843480109.
Full textAbstract:
碩士<br>元智大學<br>資訊傳播學系<br>90<br>Since 2001, the Ministry of Education has implemented the “Guidelines for a 9-Year Joint Curricula Plan for Elementary and Junior High Schools,” the ideal of which has been “to cultivate well-prepared citizens for the 21st century.” Henceforth the elementary education system in the country has entered into a new era. It is a great evolution in Taiwan’s educational history. And it also means that significant changes will be found in the essence and content of teaching. In the past, the subjects of teaching have been biased in favor of the intellectual domain, and students were learning by cramming. The current education reform will rectify the phenomena with more lively, interconnected, and integrated teaching activities and programs. The teaching and integration for courses in art and humanities will also be emphasized. 9-Year Joint Curricula
However, after more than one year of trial on the 9-year joint curriculum “Art and Humanities,” many schools find it most difficult to implement the integrative teaching of performing arts, music, and visual arts. Among all courses, “dance” is considered to be the most challenging one, which combines elements of art and physical education, and is endowed with a new meaning and style by the 9-year joint curricula plan.
The goal of the current research is to create a web-based multimedia CAI prototypical platform designed for elementary school teachers in teaching “creative dance”, by incorporating features of Laban’s educational dance and making use of dance elements and properties of the Internet. The Internet has merits of flexibility, diversity, integration, and unrestricted by time and space, so teachers can choose materials or contents suitable to their needs and demand of the class. Through self-learning on the interactive platform, they can also comprehend the point of creative dance, digest the contents and apply them to the class. Hopefully, as the experiences and resources accumulate, an “expertise system” can be established, offering an open and interactive web-based learning community for elementary school teachers specialized in dance education.
44
"Embodied Continuity: Weaving the Body Into a Web of Artistry and Ethnography." Master's thesis, 2012. http://hdl.handle.net/2286/R.I.16028.
Full textAbstract:
abstract: Embodied Continuity documents the methodology of Entangled/Embraced, a dance performance piece presented December, 2011 and created as an artistic translation of research conducted January-May, 2011 in the states of Karnataka and Kerala, South India. Focused on the sciences of Ayurveda, Kalaripayattu and yoga, this research stems from an interest in body-mind connectivity, body-mind-environment continuity, embodied epistemology and the implications of ethnography within artistic practice. The document begins with a theoretical grounding covering established research on theories of embodiment; ethnographic methodologies framing research conducted in South India including sensory ethnography, performance ethnography and autoethnography; and an explanation of the sciences of Ayurveda, Kalaripayattu and yoga with a descriptive slant that emphasizes concepts of embodiment and body-mind-environment continuity uniquely inherent to these sciences. Following the theoretical grounding, the document provides an account of methods used in translating theoretical concepts and experiences emerging from research in India into the creation of the Entangled/Embraced dance work. Using dancer and audience member participation to inspire emergent meanings and maintain ethnographic consciousness, Embodied Continuity demonstrates how concepts inspiring research interests, along with ideas emerging from within research experiences, in addition to philosophical standpoints embedded in the ethnographic methodologies chosen to conduct research, weave into the entire project of Entangled/Embraced to unite the phases of research and performance, ethnography and artistry.<br>Dissertation/Thesis<br>M.F.A. Dance 2012
45
Liao, Hsiang-Ling, and 廖香玲. "The Days We Danced Together :A Kindergarten Teacher’s Journey in Creative Dance Teaching." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/15046729235110115949.
Full textAbstract:
碩士<br>中國文化大學<br>舞蹈學系<br>98<br>The Days We Danced Together :
A Kindergarten Teacher’s Journey in Creative Dance Teaching
Abstract
This purpose of the study is a kindergarten teacher who has an expertise in dance, try to apply an action research to explore the feasibility of creative dance to 4-6 years old children rather than the regular children’s rhymes and rhythmic dance in kindergartens. The analytical data in this study includes video records, lesson plans, and reflect journals. During the research period, the activities of creative dance are integrated into three unit themes: Toys, Excursions in Spring, and One-Two-Three, Freeze!.
At the beginning, the teacher is implemented creative dance with whole class, but due to the timetable, the only time they can try creative dance is the learning corner time, therefore, the teacher create a dance corner which children can choose for themselves. And through the observation and the reflection of children’s learning process, and applied alternative and inter-discipline teaching method with multiple assessments, the creative dance with children was gradually developed and formed.
Finally, the study also provides suggestions on teaching creative dance in kindergartens for current kindergarten teachers, kindergarten teachers with expertise in dance, and action researchers who are interested in conducting further related studies in the future.
Keywords: early childhood education, creative dance, the learning corner, teachers’ professional development, action research
46
FANG, HSIU-TZU, and 方秀慈. "Core Muscle Training Through Imagery：A Study of the Talented Dance Class of Taichung Municiple Wen-Hua Senior High School." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/893wnb.
Full textAbstract:
碩士<br>國立臺北藝術大學<br>舞蹈研究所<br>106<br>The study is to implement the core training course of the high school dance talented class, to explore the imagery by the core muscle training action, and to explore the ability to feel and perceive the body. During the period from July to August 2016, the actual teaching ten lessons per 90 minutes, and hope to achieve the following research purposes:
1. Review the experimental teaching process and implementation results.
2. Converging the ideal imagery theme for the core muscle training exercises.
3. Inspire the relationship between the imagery of the gifted eugenics and the ability of the body's core muscles.
Through the analysis of video , teaching reflection logs, curriculum observer feedback, and student study sheets, after analysis, the research findings are as follows:
1. The core muscles training programme is needed and essential to the high school talented dance class. The students receive dance training for an extended period, though showing abilities in using the core muscles; there is room to improve their understanding of the core muscles group.
2. The use of imagery to aid in core muscles training can indeed help the high school gifted dance students in the application of their muscles. And, the application of verbal cues, visual stimulation and small group discussion by the teacher can further motivate the thought process of the high school talented dance students.
3. After collecting research participants’ imagery examples, three main types have been classified: movement appearance , movement within context and muscle perception in motion. All imagery examples that research participants think of are often related to the external form of movement.
4. As there were only ten classes conducted in the research process, it is unable to have a clear view of the effectiveness. If the research timeframe were to have been longer, it would have produced more concrete results on muscle sensitivity for the research participants.
Finally, in conclusion, the researcher made recommendations for the high school talented dance class and future research.
Key words：High school dance talented class, Core muscle training, Imagery
47
TING, HUANG YU, and 黃玉婷. "Those Days When We Are Learning Dance:A Case Study on Learning Experience in Dance General Education Course." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/42856269439030835845.
Full textAbstract:
碩士<br>台北巿立體育學院<br>舞蹈碩士班<br>97<br>In Taiwan, dance education has not been implemented in every classroom while almost every youngster has a college degree. Under such a circumstance, dance general education course is probably the last opportunity for non-dance majored college students to receive the benefits of dance education before completing their formal education.
In order to understand the current condition of the implementation of dance-related general education courses in universities in Taiwan, the researcher first browsed the Websites of all universities in Taiwan. Of all the universities with dance-related general education courses, the researcher selected an university located in Northern Taiwan that provided a general education course named “Dance Art” in order to launch a case study, in which the researcher planned to investigate the learning experience of the non-dance majored in the selected case.
This research found that in the selected dance general education course:
1.The favorite studying way for the non-dance majored was to practice/experience dance;
2.The interests and learning motivation of the non-dance majored were enhanced in this course;
3.The learning experience in the dance general education course had positive feedbacks on the learning of the non-dance majored in their major courses.
4.The teacher, who owned professional background in dance performance and academic training in dance theories, was well received by students.
5.Sound interactions between teacher and student enhanced the learning effects of this course.
It is hoped that more scholars will do more related studies to make collective efforts for the implementation of holistic higher education through dance.
Keywords: Dance General Education Course, Dance Appreciation, Non-dance Majored College Students, Dance Education, General Education
48
Weng, Yu Ting, and 翁于婷. "The Influences of Adapted Dance on Health-Related Physical Fitness of Students With Mild Mental Retardation:A Case of The Vocational High School Department of Wen Shan School of Special Education in Taipei." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/77576457738259986137.
Full textAbstract:
碩士<br>臺北巿立體育學院<br>舞蹈碩士班<br>98<br>The purpose of this research was to investigate the effect on students with mild mental retardation and obesity after 12 weeks training of Adapted Dance Course. According to the
Body Mass Index standard by the Ministry of Education, boys’ BMI≧25.6, girls’ BMI≧25.3；30 mild mental retardation students were selected from all three grades in the vocational department as the experimental subjects. All the subjects were divided into two groups, one is the experimental group (15 people) who participated in the Adapted Dance Course, the other one is the control group (15 people) who did not join the training；the students in the experimental group carried out a 2 days a week, 12-weeked Adapted Dance Course while the control group didn’t. The two groups had to go through all the testing events before and after the training. The standard test methods of Ministry of Education was conducted by the two groups, including (1)body mass index (2)60 seconds curl-ups (3)Standing boarding jump(4)800m run and (5)sit and reach. Paired t-tests and one-way independent ANOVA were used to compare the variables within and between groups. The results showed that: there were no significant differences among all variables within and between two groups before the Adapted Dance Course was practiced, the homogeneity was high. However, after the training, the experimental group’s results of standing boarding jump and sit and reach were prominently higher than the control group’s(p＜.05). But with the results of body mass index, 800m run and 60 seconds curl-ups, there were no significant differences showed between pre-test and post-test in both experimental and control groups(p＞05).
This research proved that the 12-weeked Adapted Dance Course can greatly improve both students’ explosive strength and the flexibility. Therefore, in my opinion, I suggest that the teachers can let the students do more stretching exercises before and after exercising, in order to enhance the student’s flexibility; or you can use self-choreographed stretching exercise of Adapted Dance Course as a reference of other sport activities and include more systemic dancing activities in the regular PE classes for the sake of promoting and maintaining mild mental retardation student’s body and mental health.
49
Turková, Nikola. "Lidová kultura na Chodsku a možnosti využití ve výuce na 1. stupni ZŠ." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-434848.
Full textAbstract:
The thesis focuses on folk culture in Chodsko. The main focus is folk songs and collectors. It provides an insight into the differences between the Upper and Lower Chodsko region. Reader will find important historical and present personalities for regional folk culture. At the end of the thesis there is a proposal for working with Chodsko's folk culture in the primaey school environment. KEYWORDS Chodsko, folclore, folk culture, folk music, folk dance, Ludvík Kuba, folclore to school, Here we are home
50
Sander, Benjamin. "Die Möbel Philip Speakman Webbs oder Das Verhältnis von Kunst und Arbeit bei Morris & Co." Doctoral thesis, 2019. http://hdl.handle.net/21.11130/00-1735-0000-0005-14C3-8.
Full text