Siga este link para ver outros tipos de publicações sobre o tema: Traditional dance.
Teses / dissertações sobre o tema "Traditional dance"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores trabalhos (teses / dissertações) para estudos sobre o assunto "Traditional dance".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja as teses / dissertações das mais diversas áreas científicas e compile uma bibliografia correta.
1
Sayyed, Mubaashera Irfan, Наталія Анатоліївна Пилипенко-Фріцак, Наталия Анатольевна Пилипенко-Фрицак e Nataliia Anatoliivna Pylypenko-Fritsak. "Traditional Indian Dance As Symbolic Nonverbal Communication". Thesis, Sumy State University, 2021. https://essuir.sumdu.edu.ua/handle/123456789/84793.
Texto completo da fonteResumo:
Dance could be described as a performance art form in which
the basic tool is the body and its purposefully selected movement in
an intentionally rhythmical and culturally pattern with an aesthetic
value and symbolic potential. Human has been using the body and its
movement as a tool to express feelings and desires since prehistoric
times and continues until now. When we dance, our bodies fire up
with emotion and allow us to express what words cannot. In folk
cultures around the world, people dance to impart knowledge and
wisdom, express their emotions or devotion, and pass down the
stories and legends of their gods and ancestors.
2
Rani, Maxwell Xolani. "Lost meaning-new traditions : an investigation into the effects of modernity on African social traditional dance in Nyanga, Cape Town". Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/11155.
Texto completo da fonteResumo:
Includes bibliographical references.The dancers of Nyanga have taken note of the extent to which modernity has caused them to adjust and transform the movement quality and execution of their dances to create new urban African social dances. In addition, the urban dancers' experiences in the field have affected and influenced their craft. These perspectives have served as a point of departure for a re-evaluation of the role and predicaments of African social traditional dance in an urban environment, with specific reference to Nyanga township and raises questions around the manner in which modern agencies such as Christianity, education, multimedia, fashion and geography influence South African social traditional dance.
3
Son, Munmi. "Dance as Healing Therapy| The Use of Korean Traditional Mission Dance in Overcoming Oppression". Thesis, California State University, Los Angeles, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10814071.
Texto completo da fonteResumo:
Korean traditional mission dance originates in worship ceremonies in Christian churches and missionary settings, but inherits movement, floor patterns, and motifs from Korean folk dances that are performed as ceremonial rituals. This thesis suggests that as women connect to the healing power present in Korean traditional dance and its hybrid forms, they may be aided in healing from negative experiences with sexist oppression. The author discusses intersectional oppression she experienced in Korea through an autoethnographic research process, her experiences with Korean traditional mission dance pioneered by Soon Ja Park and considers identity transformation and healing in the context of her work as director of the L.A. Argon Mission Dance group. In this way, she expands a choreography model to further these healing processes.
4
Chun, Mi Hyun. "Developing a somatic teaching method for Korean traditional dance /". The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488192447430171.
Texto completo da fonte
5
Mollenhauer, Jeanette Anne. "Translated traditions: A comparative ethnography of traditional dance in the Irish and Croatian communities in Sydney, Australia". Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17997.
Texto completo da fonteResumo:
This comparative ethnography investigates the traditional dance practices of the Irish and Croatian communities in Sydney, Australia. Transnationalism theory affords the means through which to examine the multiple ways in which individuals and groups have forged, and continue to participate in, fields of engagement across national borders. The study situates the immigrant groups within the context of multicultural Australia, and additionally references the theoretical paradigms of cultural identity, diaspora studies, nostalgia theory and ethnochoreology. The research entailed detailed case studies of three dance groups from each of the immigrant communities under investigation. Data were gathered through ethnographic fieldwork conducted in dance classes and special events over two years and interviews with 100 participants. Emergent themes revealed participants’ agency in multiple transnational spaces including, at a personal level, cultural identity, emotional attachment and embodied signification. Themes relating to structural and functional fields were the global organisational frameworks, patterns of pedagogical practice and flows of material goods. The final theme was transnational representation through public performances of dance. The research revealed that participation in traditional dance was an important means through which immigrants may perpetuate links with their ancestral birthplace. Strong affective bonds with that former homeland were noted amongst the large majority of respondents. Dance was also identified as an important signifier of cultural belonging amongst members of both communities. Additionally, the study acknowledged that transnational engagements were not the sole province of immigrants, but also included those who have merely affiliated themselves with a traditional dance genre.
6
Wesp, Henrike. "Folkdans och somatik : en kvalitativ studie om folkdanskroppen och somatik i folkdansundervisning". Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-592.
Texto completo da fonteResumo:
This study aims to investigate how dance teachers who are educated in Swedish folk dance are reflecting and thinking over the body and the use of bodily self-awareness in their teaching. Furthermore it wants to examine whether the use of somatic principles can act as a tool to support the ideas which dance teachers express. Four folk dance teachers have been interviewed as qualitative empirical material. These interviews have been transcribed and analyzed using codes and categories. The result of the study provides an image of the body as it is seen in folk dance today and points out similarities between that picture and somatics. Folk dance and somatics treat the whole body as a single unit and strive towards a relaxed and functional way of moving. Since folk dance and somatics have these similarities the possibility of using somatic principles in folk dance, such as training to gain consciousness of the body and its different parts to be able to relax actively, is discussed. However the result of this study shows how a rather small part of folk dance teachers think, since it only provides the opinions of four different teachers.
7
Ubom, Enobong Isaac. "The socio-economic values of traditional music and dance in Nigerian development /". Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11301715.
Texto completo da fonteResumo:
Thesis (Ed.D.) -- Teachers College, Columbia University, 1992.Typescript; issued also on microfilm. Sponsor: William Sayres. Dissertation Committee: Maryalice Mazzara. Includes bibliographical references (p. 173-183).
8
Zacharioudakis, George. "Taking traditional Cretan dance music forward : interpretations with traditional Cretan instruments and with the Western flute". Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577796.
Texto completo da fonteResumo:
This project attempts an interpretation of traditional Cretan dance music with Cretan instruments and with the Western flute. Examining the changes in musical practices brought by the new socio-cultural conditions in Crete from the mid-twentieth century until today, it argues that Western musical trends have indirectly caused the neglect and loss of some pertinent musical qualities and the modification of the traditional Cretan musical character. More particularly, it argues that some old Cretan instruments and repertories are being abandoned, while the non-equal-tempered tuning and the Eastern Mediterranean modal systems are being replaced by Western equivalents. In this context the project endeavours to provide an alternative that restores these characteristics of traditional Cretan music, by revealing and using musical elements which were used around the first half of the twentieth century. In order to do so the project includes a musicological analysis of the traditional Cretan dance music. Specifically, it identifies and explains the non-equal-tempered tuning and the Eastern Mediterranean modal systems; it clarifies the distinct styles of interpretation and it examines other important facets of the music such as texture, structure, melodic development, improvisation and composition. Attempting to reduce the distance between earlier Cretan sound qualities and modern musical perception, the project adjusts the interpretations according to today's aesthetics and introduces modern audiences to new ways of performing traditional Cretan music. This is achieved by utilising the Western flute for the interpretation of the music and by extending the interpretative capabilities of the Cretan instruments. The project contains both written and practical components. The later consists of audio material which demonstrates in performance all the arguments and results presented in the thesis, offering new insights on the interpretation of Cretan music.
9
Yoo, Si-Hyun. "Contemporary interpretations of the practice of a traditional Korean dance Han Young-Sook's Salpúri Chúm /". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488203158826464.
Texto completo da fonte
10
Lallathin, Jayma R. "Skill acquisition and learning in dance : a traditional vs. biofeedback approach". Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371848.
Texto completo da fonteResumo:
Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers.School of Physical Education, Sport, and Exercise Science
11
Kim, Sang Kyung. "Physical dance performance : an investigation into the development of a performance technique based on the integration of certain Korean dance technique and contemporary Western styles of dance and physical theatre". Thesis, Brunel University, 2001. http://bura.brunel.ac.uk/handle/2438/4843.
Texto completo da fonteResumo:
This development of a performer practice that integrates elements of traditional Korean dance technique and Western forms of physical theatre and contemporary dance is based on an approach to internal understanding and external execution. Central to the work is the concept of body energy, or Ki. This ancient Eastern term is translated into a contemporary practice that enables a performer to engage mental and physical training. Breath and the use of breath in performing are the principal means of achieving this level of engagement.
12
Starbuck, Jennifer 1962. "A redefinition of traditional forms: The imagistic theatre of George Coates and Martha Clarke". Thesis, The University of Arizona, 1993. http://hdl.handle.net/10150/291962.
Texto completo da fonteResumo:
This thesis examines the continually changing avant-garde theatre and two artists who have emerged in the style of imagistic theatre. George Coates and Martha Clarke both abandon traditional literary playscripts and create their own work using images as the primary method of communication rather than the traditional word. Specific works of each artist are analyzed through use of text, storyline, visual elements, performer's role, audience reaction and in the case of Coates, his cinematic potentialities. This analysis begins to define the imagistic theatre and its application in the '90s. In addition, the overall potentiality for imagistic theatre as an important form of theatre in the future is discussed, with special attention to the multicultural and interdisciplinary approach.
13
Foley, C. E. "Irish traditional step-dancing in North Kerry : A contextual and structural analysis". Thesis, Goldsmiths College (University of London), 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.234896.
Texto completo da fonte
14
Lee, Hee Jung. "Storytelling of the Korean traditional dance "The Hahoe Mask" using interactive multimedia /". Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2295.
Texto completo da fonte
15
Maahlamela, Tebogo David. "Sepedi oral poetry with reference to kiba traditional dance of South Africa". Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/63209.
Texto completo da fonteResumo:
Previous studies show that contrary to other African languages of fewer speakers, written poetry in Sepedi/Sesotho sa Leboa’s transition from oral to written did not only lag behind, its development was also slow, with less intense treatment. However, this scarcity is not of the actual oral material, but rather its documented version. Vast untreated material at various repositories such as the South African Broadcasting Corporation (SABC) library and the International Library of African Music (ILAM) are facing a risk of being lost due to limited resources and resourcefulness to digitalise them. Investigation of written poetry from 1906 to 2006 attests to the fact that in its written form, Sepedi/Sesotho sa Leboa poetry is still underdeveloped, dominated by “microwaved” collections aiming at nothing beyond meeting school prescription criteria. Calls have been made from the dominant South African poetry narrative that there are no innovative studies in the field of African languages, especially Sepedi/Sesotho sa Leboa. Musicological studies show that contemporary jazz artists have adopted and adapted kiba poetry into jazz music, which resulted into classics of all times. Intensive studies were conducted on such poetic kiba-influenced jazz, but the primary source remains a grey area. The analysis of selected kiba poems shows that kiba poetry is the richest poetic form in the Sepedi/Sesotho sa Leboa with its creative and artistic merit exceeds all other genres. The study further reveals that kiba poetry is the heart of Bapedi/Basotho ba Leboa spirituality, a heart without which some faith institutions will remain incomplete. Furthermore, kiba poetry embodies, among others, poetic genres rarely explored in the South African poetry milieu such as “sound poetry” and poetry of special metrical schemes, of dramatic and devotional essence. Scholarly attention is, therefore, recommended on this repertoire to explore the field beyond this preliminary study, so as to save as many kiba poems as possible, which will enrich the dwindling written poetry milieu. Literary excellence of the treated poems attests to the fact that the artistic wealth of kiba poetry is worthy of attention, and it has potential to transform not only the face of poetry in Sepedi/Sesotho sa Leboa, but of the entire South African poetry landscape.
16
Jong, Sze Joon. "Iban Ajat: Digitisation framework for the conservation of a Sarawak traditional dance". Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/233171/1/Sze%20Joon_Jong_Thesis.pdf.
Texto completo da fonteResumo:
Sarawak Iban's cultural heritage is endangered. Therefore the conservation of its traditional dances is imperative. This study aims to demonstrate how a hybridised research strategy is essential for the conducting of culturally sensitive preservation. My research centres on applications of Motion Capture technology, for the leveraging of observations of the Ajat Dance – through a focus on elemental gyrational manoeuvres. My study does not claim to be a 'panacea'. Rather it showcases the importance of acquiring and incorporating digital oeuvres into one's documentary practices. Through its proof-of-concept involving a 3D simulation, I offer a digitisation framework for delivering decolonised cultural preservation.
17
Grasso, Eliot John. "Melodic variation in the instrumental dance music tradition of Ireland". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11557.
Texto completo da fonteResumo:
xxiii, 507 p.This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain.
Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member
18
Yoo, Si-Hyun. "Contemporary Interpretations of the Practice of a Traditional Korean Dance Han Young-Sook's Salp'uri Ch'um". The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394810091.
Texto completo da fonte
19
Davey, Mervyn Rex. ""As is the manner and the custom" : folk tradition amd identity in Cornwall". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3377.
Texto completo da fonteResumo:
The distinctiveness of folk music and dance traditions in Cornwall is at best ignored and at worst denied by the wider British folk movement. Within Cornwall itself, traditional music and dance is not widely recognised as a serious art form. This study challenges this position by arguing that failure to recognise Cornwall’s folk tradition as a distinctive and creative art form is due to hegemonic power relations not the intrinsic nature of Cornish material. It contributes to the debate about the distinctiveness of Cornwall’s historical and cultural identity and shows that folk tradition has an important place in contemporary Cornish studies. This study examines the evolution of folk tradition in Cornwall from the early nineteenth century through to the present day, the meanings ascribed to it and the relationship with Cornish identity. The subject matter is at once arcane and commonplace, for some it is full of mystery and symbolism for others it is just “party time”. It is about what people do and what they think about what they do in relation to the wide spectrum of activities associated with traditional music and dance. These activities range from informal singing sessions and barn dances to ritual customs that mark the turning of the year. In order to establish a research methodology this study draws upon the paradigms of memory, oral history and discursivity. These paradigms provide a range of insights into, and alternative views of, both folk tradition and identity. Action research provides a useful enquiry tool as it binds these elements together and offers a working ethos for this study. Using this model a complex and dynamic process is unveiled within folk tradition that offers a quite different perspective on its relationship with identity and brings into question popular stereotypes.
20
Nkosi, Gugulethu Sebenzile. "Umkhosi Womhlanga (Reed Dance) as a tourism enterprise in KwaZulu-Natal: Perceptions, policies and practices". Thesis, University of Zululand, 2013. http://hdl.handle.net/10530/1282.
Texto completo da fonteResumo:
A thesis submitted to the Faculty of Arts in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of Recreation and Tourism at the University of Zululand, South Africa, 2013.uMkhosi Womhlanga is a traditional ceremony that is celebrated annually. This event attracts event tourists and generates revenue for the host communities of KwaNongoma, KwaZulu-Natal, and South Africa as a whole. It is assumed that the event has a massive tourism potential and platform to yield socio-economic benefits for the local community. Comprehensive planning and management are essential tools for hosting successful events. Event organizers or managers require extensive knowledge, skills, good intuition and an eye for beauty in the planning and management of special events. These are essential factors in this booming events sector of the tourism industry. The premises of this study involve understanding the meaning and objectives of celebrating uMkhosi Womhlanga as a traditional ceremonial event and ascertaining the extent to which uMkhosi Womhlanga is planned and managed in order to realize its full potential as a tourism enterprise. The study also highlights the policy framework that governs the event, the benefits, practices, participation levels and perceptions of all stakeholders linked to this ceremonial event. The research study area is KwaZulu- Natal. This paper has the following objectives: a) To find out whether stakeholders involved understand the origins and meaning of celebrating uMkhosi Womhlanga as a traditional and ceremonial event. b) To find out whether there are policies and procedures in place that govern the planning and management of the event. c) To indicate the extent to which the uMkhosi Womhlanga event is perceived as a tourist attraction in the study area. d) To establish the extent to which stakeholders participate in the uMkhosi Womhlanga event.
21
Robinson, Raymond Stanley, of Western Sydney Nepean University e of Social Community and Organisational Studies School. "Dreaming tracks : history of the Aboriginal Islander Skills Development Scheme, 1972-1979 : its place in the continuum". THESIS_XXX_SCOS_Robinson_R.xml, 2000. http://handle.uws.edu.au:8081/1959.7/76.
Texto completo da fonteResumo:
Dreaming Tracks was chosen for the title of this history because of its reference to the journeys and routes taken by the ancestral founders of each of the extended family clans. As they travelled they recorded the events and situations they encountered along the way , which they left in story, painting, song lines and dances for the future survival of their people. The history of the Aboriginal/Islander Skills Development Scheme also pertains to a journey. This journey records the events that brought about the establishment of the longest surviving, urban Indigenous dance organization. It's a voyage that identifies the obstacles and accomplishments of its founding members, who dedicated themselves to the hard work to ensure the continuum of Aboriginal and Torres Strait Islander dance. It was their dream, to have an Australian Black Dance Company that would create a link between past and present, traditional and urban. The pathways they created equipped urban Indigenous Australians with a unique dance identity of their own, and established the path to continued contact with the traditional owners. Dreaming Tracks is contemporary Dreaming lore that begins with the contention for land rights in the early 1970's and follows the progress of the Aboriginal/Islander Skills Development Scheme to the end of the decade. It records the desires, dreams and conflicts that brought this organization into being. In parallel, the concerns of the founder, Carole Y. Johnson, sets the path for the journey, which by the end of the twentieth-century witnessed the establishment of an accredited dance course, two dance companies (The Aboriginal/Islander Dance Theatre and Bangarra Dance Theatre, Australia) and students who are key participants in the artistic design of the 2000 Olympics in Sydney AustraliaMaster of Arts (Hons) (Performance)
22
Ortiz, Colleen Lenore. "Rave to redoblada: the role of modernization and tourism in the traditional music and dance of Ibiza". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12551.
Texto completo da fonteResumo:
Thesis (M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.Ibiza, a small Spanish island in the Mediterranean, embodies the tensions between modem and traditional identities. The development of tourist industries in Ibiza has had a significant impact on traditional music and dance genres. Based on my fieldwork during the summer of 2011, I examine issues of modernization, folklorization, cultural tourism, authenticity, and gender in two genres of rural music: ball pages, a traditional rural courtship dance, and redoblada, a vocal genre unique to the Pitiuses (lbiza and Formentera). I will examine how each genre responded to social changes that resulted from modernization and the development of tourism on the island. In the early twentieth century, there was a decline in the transmission of traditional music and dance due to the Spanish Civil War, political repression, and modernization. The development of tourism led to the rejuvenation of some genres of traditional music and dance, but also fundamentally changed them. Having undergone a process of folklorization during its transformation into a tourist event, ball pages has become a medium for the construction of authenticity and the preservation of traditional gender roles. In contrast, other genres, such as redoblada, have been unsuccessful in adapting to the new social context and performance opportunities in Ibiza.
23
García, Peter J. "La Onda Nuevo Mexicana multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico /". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3031600.
Texto completo da fonte
24
Masters, Nyssa Catherine. "The Biomechanics of the Tendu in Closing to the Traditional Position, Pli#233; and Relev#233". Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4825.
Texto completo da fonteResumo:
Dancers spend many years practicing repetitive movements in order for their bodies to gain flexibility, strength and muscle memory. This thesis investigated the biomechanics of a dance student's knee motion during a tendu to the front in first, third, and fifth positions. A dancer will often perform 75 or more tendu closing actions during one technique class - particularly in ballet technique. During a tendu the moving foot moves along the floor but the toes never leave the floor. The tendu is used to strengthen the leg muscles, particularly the quadriceps and gluteal muscles. Flexion/extension, abduction/adduction, and rotation angles of the knees during a traditional flat footed closing were compared to the knee angles during pli#233; and relev#233; closing. These movements were performed by 10 healthy dance students from USF. The dancers' movements were tracked using the VICON Nexus motion analysis system and 27 passive reflective markers placed on bony landmarks. Visual 3D software was used to calculate the knee angles. There were statistically significant the differences between knee angles during the traditional and pli#233; closings and between the relev#233; and pli#233; closings for all positions. There were only 4 conditions in which there was statistical significance between traditional and relev#233; closings. Knee flexion difference between the traditional and relev#233; closings was unanticipated, as the expectation of the tendu movement is to maintain a fully straight knee throughout the full range. This result suggests that the students may be bending the knees to achieve greater outward rotation, particularly in the third and fifth positions. The pli#233; had the largest range of motion (ROM) for all of the angles tested including abduction/adduction in which the subjects used the abduction at the knee to hold the feet in a turned out position. The collected data gives better insight into the biomechanics of the knee movement and will be used as feedback for improving muscular strength and preventing injuries in dancers.
25
Ballantyne, Patricia H. "Regulation and reaction : the development of Scottish traditional dance with particular reference to Aberdeenshire, from 1805 to the present day". Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230127.
Texto completo da fonteResumo:
This thesis examines historical developments in Scottish dance over the past two hundred years and considers how they combined to shape the current traditional dance and music culture in Scotland. This work examines the effects of increasing regulation and standardisation during the twentieth century through an assessment of the experiences, viewpoints and opinions of present-day practitioners. The business practice and increasing professionalisation of nineteenth-century dancing masters active in the North-East of Scotland, and that of A. Cosmo Mitchell in particular, is considered in relation to the formation of the regulatory societies. The introduction of standardisation is examined through a comparison of nineteenth- and twentiethcentury published sources for the 'Highland Fling'. Tensions and contrasts in traditional dance and music are assessed by a consideration of the approach taken by influential traditional music education establishments such as Fèisean nan Gàidheal and by examining the relationship between Highland dancing and Highland piping. Reactions to regulation such as the (re)introduction of percussive step dance to Scotland and the growth in popularity of informal, 'called' ceilidh dancing are evaluated. The relationship between traditional dance and music in Scotland today is considered in the light of recurring themes such as professionalisation, regulation, authority, reactions to the status quo and the revival of an approach to or concept of dance rather than the revival of an historically verifiable style.
26
Polyniki, Antigoni. "From wedding dance floors to music classrooms : narratives of learning to play traditional music instruments amongst Greek Cypriots (1930-2010)". Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558792.
Texto completo da fonteResumo:
In recent years there has been a noteworthy revival of traditional instrumental mUSIC III Cyprus with the setting Up of schools and organizing workshops of traditional music, and the emergence of a new generation of Greek Cypriot professional instrumentalists and teachers. This study examines the narratives of learning to play traditional music instruments amongst Greek Cypriot musicians in the period 1930-2010. In doing so this study explores the development of the music learning system from its genesis in wedding celebrations, the influence of western music and training methods on the performance and learning of traditional instruments, and the dissemination of the instrumental tradition in the context of traditional dance ensembles to the systematic institutionalised teaching of traditional music in the early twenty-first century. The findings of this study contribute to an understanding of the various factors that influenced the transmission of the instrumental tradition in Cyprus during the twentieth and twenty-first centuries, the ways in which instrumental skills and knowledge of the repertory were acquired in particular cultural, temporal and spatial contexts and the manner in which teaching is informed by personal circumstances and the requirements of the tradition in contemporary learning environments.
27
Nyakiti, Charles. "The life and work of four Kenyan composers, with special reference to the influence of Luo traditional music and dance". Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356954.
Texto completo da fonte
28
Mbusi, Nokwanda Princess. "An investigation into the use of traditional Xhosa dance to teach mathematics: a case study in a Grade 7 class". Thesis, Rhodes University, 2012. http://hdl.handle.net/10962/d1003499.
Texto completo da fonteResumo:
This study seeks to explore mathematical concepts embedded in traditional Xhosa dance and how these concepts can be incorporated into a learning programme for the teaching and learning of mathematics. The study seeks to gain insight into whether learners could benefit from the implementation of such a learning programme. Learners from a Grade 7 class in a rural school performed traditional Xhosa dances and their performances were captured through video recording. The video recordings were then observed and analysed to determine the mathematical concepts embedded in the dances. These concepts were then linked to those found in the Grade 7 mathematics curriculum. A learning programme integrating mathematical concepts from the dance activities with mathematical concepts from the Grade 7 curriculum was then designed. The learning programme contained mathematical problem solving activities that required learners to re-enact the dance performances in order to find the required solutions. The learning programme was then implemented with the learners over a period of three weeks. During the implementation, learners’ behaviour towards the learning experience was observed, their engagement with the problem solving activities as well as their strategies for solving the problems, were carefully observed. Also, their interactions with each other were noted. After the implementation of the learning programme, focus group interviews were held with learners to determine their opinions, attitudes and feelings about their experience of learning mathematics through traditional Xhosa dance. Key findings indicated that traditional Xhosa dance can be used as a medium for learning many concepts in the mathematics curriculum; the use of the dance gave learners an opportunity to learn mathematics from a familiar context and to participate actively and collaboratively in their learning. Also, it emerged that the use of dance to teach mathematics had potential to help improve learners’ attitudes towards mathematics. Conclusions were reached that the dance had potential for use as a means for the meaningful learning of mathematics. However, limitations and challenges with the study were identified, such as its limited replicability in other mathematics classrooms.
29
Evangelopoulou, Polyxeni. "A case study on Maths Dance : The impact of integrating dance and movement in maths teaching and learning in preschool and primary school settings". Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117682.
Texto completo da fonteResumo:
The use of kinaesthetic experiences associated with dance to support learning of curricular mathematics has been little represented in the available literature. Maths Dance is an approach to teaching and learning mathematics through dance and movement. The objectives of the study are related to assessing the impact of Maths Dance on students’ cognitive, affective and physical developmental areas in preschool and primary school settings. The investigation of the case study on Maths Dance took place in London, UK, with the participation of four teaching staff members, who were interviewed in detail, and thirty students of Reception, Year 2 and Year 3 classes, out of which eleven students were interviewed. All thirty students were observed once during three Maths Dance sessions, one session per each age group. Based on a qualitative research approach, the data are analysed and discussed below around seven themes in relation to the theories of constructivism, Dienes’s theory of learning mathematics, Gardner’s theory of Multiple Intelligences and educational neuroscience. According to the main findings, students and teaching staff members express positive attitudes regarding most aspects of the research questions. Specifically, Maths Dance is believed to improve students’ maths skills, critical thinking and creativity, as well as enhance student motivation, socio-emotional and motor skills. The pleasant nature of the activities is also highlighted, an element that is believed to make this method adequate for students of low achievement in maths. However, the small sample size, in addition to the fact that Maths Dance has recently started being implemented in schools, does not permit generalization of the results.
30
Magowan, Fiona C. "Melodies of mourning : a study of form and meaning in Yolngu women's music and dance in traditional ritual and Christian contexts". Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.259998.
Texto completo da fonte
31
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.
Texto completo da fonte
32
Sanga, Daines. "Traditional Dances and Bongo Fleva: a Study of Youth Participation in Ngoma Groups in Tanzania". Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-137461.
Texto completo da fonteResumo:
Kasi ya vijana katika kukuza muziki wa kizazi kipya katika kipindi cha utandawazi haiendani na kasi ya ukuzaji wa ngoma za asili. Mpaka sasa haujafanyika utafiti wa kina kuhusu kuzuka kwa tabia hii. Makala haya yanatumia mahojiano na vikundi vya ngoma vitatu halikadhalika wanamuziki wa kizazi kipya kuweka bayana chanzo cha tatizo. Aidha, makala haya yanatumia nadharia ya utendaji kama darubini kuchunguza matatizo ya kijamii, kisiasa, kiuchumi na kiutamaduni yanayowakumba vijana na namna yanavyochochea mfumuko wa tabia hii mpya. Utafiti huu umegundua kwamba uhaba wa mianya ya kiuchumi na kisiasa kwa vijana, nafasi ya ngoma za asili katika jamii ya sasa, mahusiano hasi kati ya vijana na wazee katika kuuendeleza utamaduni pamoja na vijana kutaka maendeleo ya haraka kuwa ndio chimbuko la tatizo.
33
Fabellini, Antonella. "El performance en la clase ELE: : La danza, un recurso pedagógico para el desarrollo de la competencia lingüística y sociocultural". Thesis, Stockholms universitet, Institutionen för spanska, portugisiska och latinamerikastudier, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78379.
Texto completo da fonteResumo:
This study aims to analyse the use of performance, particularly dance, as a useful didactic tool for the development of linguistic and sociocultural competence in the learning field of Spanish as a foreign language. This professionalizing research is carried out through a comparative analysis of the application of a didactic proposal in two different Spanish learning contexts: an academic institute in the United States and a swedish secondary school.The data, gathered through the interpretative analysis of the responses provided in questionnaires given to the students and teachers at the end of the class and also through the observation process of the sessions, evidence that dance could support the development of linguistic competence since it creates a relaxed learning environment where learners assess their language skills and moreover, generates emotions that promote the specific use of linguistic elements when interaction occurs. Besides, the results demonstrate that the choice of the kind of dance (traditional-folk dance and ethnic dance) and the authenticity of the materials made possible to further the development of cultural competence.En esta investigación se aborda el uso del performance, y en particular la danza, como un recurso didáctico útil para el desarrollo de la competencia lingüística y sociocultural, en el ámbito de aprendizaje del español como lengua extranjera (ELE). Se trata de un trabajo profesionalizador en el que se realiza un análisis comparativo de una propuesta didáctica puesta en práctica en dos entornos de aprendizaje ELE distintos: un contexto académico estadounidense y un instituto de secundaria sueco.Los datos, obtenidos a través del análisis de las respuestas proporcionadas en los cuestionarios entregados a los alumnos y a los docentes al finalizar el proyecto didáctico y también a través de la observación en el aula de las distintas sesiones, evidencian que la danza puede favorecer el desarrollo de la competencia lingüística puesto que establece entornos de aprendizaje relajados donde los aprendientes ponen a prueba sus destrezas lingüísticas y además provoca emociones que promueven el uso específico de elementos lingüísticos cuando ocurren interacciones. Además, los resultados demuestran que la elección de un tipo de danza (la tradicional-folclórica y la étnica) y la autenticidad de los materiales permitieron también el desarrollo de la competencia sociocultural.
34
Martina, Aileen. "The Traditional Bambuco in Nineteenth and Twentieth-Century Colombian Composition". Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500243/.
Texto completo da fonteResumo:
Disputes concerning the origin of the term bambuco persist among scholars in Colombia, as well as controversies regarding the process of notating the traditional bambuco (3/4 or 6/8), when it penetrates the written tradition of popular music. Composers writing popular and salon bambucos increasingly perceived the advantage of notating it in 6/8. This study investigates the traditional bambuco and its assimilation into nineteenth and twentieth-century cultivated tradition, with emphasis on piano pieces by representative Colombian composers of art music. I include specific analyses of Cuatro preguntas (ca. 1890) by Pedro Morales Pino (1863-1926), ChirimÍa y bambuco (1930) by Antonio MarÍa Valencia (1902-1952), Bambuco en si menor by Adolf o MejÍa (1905-1970), El bambuco by Manuel MarÍa Párraga (c. 1826-1895), and Trozos Nos. 6 and 158 (1927-1970) by Guillermo Uribe HolguÍn (1880-1971).
35
Greco, Mitchell J. "THE EMIC AND ETIC TEACHING PERSPECTIVES OF TRADITIONAL GHANAIAN DANCE-DRUMMING: A COMPARATIVE STUDY OF GHANAIAN AND AMERICAN MUSIC COGNITION AND THE TRANSMISSION PROCESS". Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1398073851.
Texto completo da fonte
36
Laranjeira, Carolina Dias. "Corpo, Cavalo Marinho e dramaturgia a partir da investigação do Grupo Pelejo". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284703.
Texto completo da fonteResumo:
Acompanha DVDOrientador: Renato Ferracini
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-12T14:51:04Z (GMT). No. of bitstreams: 1 Laranjeira_CarolinaDias_M.pdf: 1729226 bytes, checksum: f531fe28b3491fa4d7590d48cf5c2146 (MD5) Previous issue date: 2008
Resumo: Nesta pesquisa teórica e prática, trato de alguns temas emergentes do processo de treinamento e criação do Grupo Peleja, do qual faço parte como dançarina e pesquisadora, tendo como campo de investigação a corporeidade do Cavalo Marinho - manifestação popular brasileira - associada ao trabalho de ator do Lume (Núcleo Interdisciplinar de Pesquisas Teatrais da Unicamp). O Cavalo Marinho, foco principal desta pesquisa, é uma brincadeira original da Zona da Mata Norte de Pernambuco realizada principalmente por trabalhadores da cana. A partir de experiências práticas, uma narrativa reflexiva é construída tendo como base o conceito de corpo-subjétil, um corpo-em-arte e as idéias sobre níveis de dramaturgia gerados a partir de um trabalho corporal específico. Estes conceitos vão sendo apresentados entremeados aos encontros no campo de pesquisa do Cavalo Marinho, do treinamento com o Grupo Peleja e ao processo de criação do espetáculo "Gaiola de Moscas", resultado prático desta investigação.
Abstract: In this practical-theoretical research, I deal with a number of themes emerging from the training and creative process of the Group Peleja, within I am a dancer and researcher, which include investigations into corporality of popular Brazilian folk manifestation in association with the actor's work within Lume (Interdisciplinary Center for Theatrical Research- UNICAMP). The focus of my research are the corporal process experienced during the investigation based on the dance of Cavalo Marinho, the play - as it is called by its participants- that originated in the Mata North Zone of the state of Pernambuco, practiced principally by sugar-cane workers. Starting from this practiced experience, a reflective narrative is constructed using as base the concept of "subjectilebody", a "body-in-art" that comprises the notion of levels of dramaturgy generated by specific physical work. The reflections stern from meetings, during the field research into Cavalo Marinho, Group Peleja' training and the creative process of the performance "Gaiola de Moscas", the practical result of this investigation.
Mestrado
Mestre em Artes
37
Robinson, Raymond Stanley. "Dreaming tracks : history of the Aboriginal Islander Skills Development Scheme, 1972-1979 : its place in the continuum". Thesis, View thesis View thesis, 2000. http://handle.uws.edu.au:8081/1959.7/76.
Texto completo da fonteResumo:
Dreaming Tracks was chosen for the title of this history because of its reference to the journeys and routes taken by the ancestral founders of each of the extended family clans. As they travelled they recorded the events and situations they encountered along the way , which they left in story, painting, song lines and dances for the future survival of their people. The history of the Aboriginal/Islander Skills Development Scheme also pertains to a journey. This journey records the events that brought about the establishment of the longest surviving, urban Indigenous dance organization. It's a voyage that identifies the obstacles and accomplishments of its founding members, who dedicated themselves to the hard work to ensure the continuum of Aboriginal and Torres Strait Islander dance. It was their dream, to have an Australian Black Dance Company that would create a link between past and present, traditional and urban. The pathways they created equipped urban Indigenous Australians with a unique dance identity of their own, and established the path to continued contact with the traditional owners. Dreaming Tracks is contemporary Dreaming lore that begins with the contention for land rights in the early 1970's and follows the progress of the Aboriginal/Islander Skills Development Scheme to the end of the decade. It records the desires, dreams and conflicts that brought this organization into being. In parallel, the concerns of the founder, Carole Y. Johnson, sets the path for the journey, which by the end of the twentieth-century witnessed the establishment of an accredited dance course, two dance companies (The Aboriginal/Islander Dance Theatre and Bangarra Dance Theatre, Australia) and students who are key participants in the artistic design of the 2000 Olympics in Sydney Australia
38
McDonough, Suzanne Lacy. "Comparison of an inter-active dance video game and traditional exercise equipment relative to use preferences and energy expenditure in adolescent females ages 16-18 /". Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850500751&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1277393354&clientId=22256.
Texto completo da fonteResumo:
Thesis (Ph.D.)--University of Mississippi, 2008.Typescript. Vita. "May 2008." Major Professor: Scott G. Owens Includes bibliographical references (leaves 69-81). Also available online via ProQuest to authorized users.
39
López, Rodriguez Fernando. "Mutations du désir en danse : tablao et flamenco contemporain : genre, contextes de production et catégories esthétiques (Espagne 1808-2018)". Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080037.
Texto completo da fonteResumo:
Cette thèse s’interroge sur le surgissement de la danse flamenca contemporaine en Espagne dans les an-nées 1990-2000. Cette danse est ici analysée comme un phénomène artistique qui naît en réaction à la danse flamenca dite traditionnelle produite dans des tablaos à partir des années 1950. Les tablaos, qui offrent des spectacles de flamenco pour des touristes, sont analysés depuis le moment de sa création jusqu’à l’actualité ainsi qu’en rapport avec le café chantant, son ancêtre esthétique (1850-1920), ayant comme perspective principale d’analyse celle des études de genre.Dans un premier moment, j’analyse les continuités et les discontinuités entre le café chantant et le tablao. Après, le focus est mis sur l’apparition de la « danse flamenca contemporaine », en explicitant autant les facteurs contextuels qui ont favorisé sa naissance que les motivations personnelles des artistes et les enjeux esthétiques à l’œuvre. J’analyse aussi les conséquences esthétiques et communautaires qu’un tel phénomène a produites chez les différents acteurs du milieu flamenco. Enfin, je montre les effets que la crise économique de 2008 a eus dans le milieu du flamenco et comment les artistes ont dû développer une diversité de stratégies de survie qui se sont traduites par une complexification des posi-tionnements esthétiques à partir des éléments construits pendant la période antérieure des années 1990 et 2000. Le développement de cette recherche s’articule aussi à l’analyse de trois études de cas en relation directe avec mon travail artistique, et s’achève sur un épilogue qui décrit Pensaor, pièce chorégraphique créée en parallèle à la thèse écrite où je « performe ma recherche »This thesis examines the emergence of contemporary flamenco dance in Spain in the years 1990-2000. This dance is analyzed here as an artistic phenomenon that arises in reaction to the so-called traditional flamenco dance produced in tablaos from the 1950s. Tablaos, which offer flamenco shows for tourists, are analyzed from the moment of its creation until today as well as in relation to the café cantante, its esthetic ancestor (1850-1920), having as main perspective of analysis the one of gender studies. In a first moment, I analyze the continuities and the discontinuities between the café cantante and the tablao. After, the focus is on the emergence of « contemporary flamenco dance » , explaining as much the contextual factors that favored its birth as the personal motivations of the artists and the aes-thetic stakes at work. I also analyze the aesthetic and social consequences that such a phenomenon has produced among the various actors of the flamenco milieu. Finally, I show the effects that the economic crisis of 2008 had on the flamenco scene and how the artists had to develop a variety of survival strate-gies that resulted in a complexification of aesthetic positions based on the elements built during the pe-riod. previous years of the 1990s and 2000s. The development of this research is also based on the analysis of three case studies directly relat-ed to my artistic work, and ends with an epilogue that describes Pensaor, a choreographic piece created in parallel with the written thesis where I « perform my research »
40
Neideck, Jeremy. "The fabric of transcultural collaboration: Interweaving the traditional Korean vocal form of p'ansori and the contemporary Japanese dance form of butoh in a transculturally Australian context". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/93720/1/Jeremy_Neideck_Thesis.pdf.
Texto completo da fonteResumo:
This practice-led research investigated the negotiation processes informing effective models of transcultural collaboration. In a creative project interweaving the image-based physicality of the Japanese dance form of butoh with the traditional Korean vocal style of p'ansori, a series of creative development cycles were undertaken with a team of artists from Australia and Korea, culminating in Deluge, a work of physical theatre. The development of interventions at 'sites of transcultural potential' resulted in improvements to the negotiation of interpersonal relationships and assisted in the emergence of a productive working environment in transculturally collaborative artistic practice.
41
Liveve, Angelius Kanyanga. "Exploring the possibility of integrating traditional music and dance into the design and delivery of lessons on the concepts of echo and waves in the grade 10 Physical Science sound topic". Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/13356.
Texto completo da fonteResumo:
Before Namibian independence in 1990, teaching was mostly characterized by teacher-centred pedagogies in which teachers were perceived as the main sources of knowledge. This resulted in learners being passive recipients of such unquestioned knowledge. After independence and to address this, a new educational system was introduced which promoted learner-centred education (LCE) pedagogy. Despite these grand ideals, educational changes in sub-Saharan Africa form a complex issue involving tensions between policy formulation and implementation. This presents Namibian teachers with some challenges in enacting LCE pedagogies. One of these challenges is to find ways to motivate learners and to assist their learning by finding relevant and interesting connections between subject topics and their own experiences and everyday culture outside the classroom. An inability to enact the new curriculum results in learners performing poorly in subjects such as Physical Science. Against this backdrop, this study sought to explore whether or not the integration of traditional music and dance into the design and delivery of lessons on the concepts of echo and waves could influence grade 10 Physical Science learners’ sense making and dispositions towards science. This study was underpinned by an interpretive paradigm. It was informed and guided by the socio-cultural theory as my theoretical framework. The study was carried out with a grade 10 Physical Science class consisting of 30 learners at Lyambombla Combined School (pseudonym) in the Kavango West Region in the northern part of Namibia. Data were generated through diagnostic and summative tests, interviews and lesson observations incorporating traditional music and dance. The findings of the study showed that learners’ sense making and dispositions toward science were positively influenced through traditional music and dance. The study thus recommends the incorporation of indigenous ways of knowing in order to enhance meaning making in science classrooms.
42
Frazier, John Nyrere. "FOR COLORED GIRLS WHO HAVE CONSIDERED SUICIDE WHEN THE RAINBOW IS ENUF: LIVING IN THE WORDAN EXAMINATION OF THE TEXT AND TRADITIONAL PERFORMANCES OF FOR COLORED GIRLS… AS A STUDY FOR A MULTICULTURAL PRODUCTION". Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1410542294.
Texto completo da fonte
43
Silva, Elizabeth Menezes da. "Corpo-casa : dança, manifestações populares tradicionais e percursos educativos com barro /". São Paulo, 2020. http://hdl.handle.net/11449/192568.
Texto completo da fonteResumo:
Orientador: Kathya Maria Ayres de GodoyResumo: O território desta pesquisa é habitado pelas práticas em dança com barro desenvolvidas no percurso de formação e atuação artística pedagógica da autora. Os processos de aprendizagem sobre o corpo e o movimento em contexto educativo, brincante e artístico com a dança – sustentações de minha atuação profissional nessa área – emergem do encontro com a história dos trabalhadores de mutirão para a construção de casas de pau-a-pique e de sua relação com a Dança do Coco Alagoano, que associei ao trabalho com argila desenvolvido com crianças, jovens e adultos. Nessa perspectiva, a questão proposta para esta pesquisa é: como, em um grupo intergeracional, no contexto de educação não formal em um espaço público da cidade de São Paulo, práticas de dança com barro podem contribuir para a construção de um Corpo-casa? Três pilares sustentam esta arquitetura corporal proposta: os Fundamentos da Educação, dos estudos de Rudolf Steiner acerca da Antroposofia, foco da Pedagogia Waldorf; as Manifestações Populares Tradicionais do repertório selecionado de danças e brincadeiras da infância, relacionadas com o Coco Alagoano; e os Princípios do Movimento identificados em estudos de Rudolf Laban e Béziers-Piret, sobre as camadas do corpo, que nas práticas com barro possibilitaram a (in)corporação de saberes em dança, conceituados por Godoy, pelos participantes e pela autora. Por meio do relato de experiência da vivência “Sete encontros em família”, evidenciei aspectos particulares das práticas pedag... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This Dissertation is inhabited by dance practices with clay (argil). Researching body and movement in artistic and educational contexts - my daily environment and work in São Paulo - I incorporated rhythm and lyrics from dancing groups which revive the making of clay houses in Northeastern Brazil. Their ancestors used to dance and sing patterns from the gender "Coco" to energize the collective construction of each house, and tap the clay. With a long-term learning process I started transpositions of this cultural knowledge in body activities with clay, developed with children, youngsters and adults. The dialogue between local Brazilian dances and R. Laban's studies flourished in the concept of House- body, proposed and developed here. In an analogy with the clay house, built with dance and singing. The Dissertation explores aspects of dances with clay, and describes my work with intergenerational groups in public spaces. Three pillars were united, to articulate an architecture of the body in construction: Education fundamentals with R. Steiner's studies on Antroposophy, the focus for Waldorf Pedagogy; Popular dance manifestations (selected repertoire with childhood games and verses related to Coco dance from Northeastern Brazil); and the Principles of Movement identified in R. Laban's and Béziers-Piret's works about body layers, which, in the practices with clay/argil, enabled the (in)corporation of knowledges in dance, as conceptualized by (GODOY, 2013; 2016), and by the pa... (Complete abstract click electronic access below)
Mestre
44
Brough, Edward Luna. "Jogo de mandinga - game of sorcery - : a preliminary investigation of history, tradition, and bodily practice in capoeira angola /". Connect to resource, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1195592448.
Texto completo da fonte
45
Campbell, Corinna Siobhan. "Personalizing Tradition: Surinamese Maroon Music and Dance in Contemporary Urban Practice". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10490.
Texto completo da fonteResumo:
Through comparing the repertoires, presentational characteristics, and rehearsal procedures of Surinamese Maroon culture-based performance groups within Paramaribo, I outline the concept of personalizing tradition. This is based on the premise that differing social and performative practices lead to different understandings of the same performance genre, and that culture-based collectives, like those discussed here, mobilize tradition in order to fulfill a variety of social needs and aspirations. Their personalizing practices lead to embodied understandings of a variety of concepts, among them tradition, culture, professionalism, and cosmopolitanism. Through learning and presenting this composite of physical significations, performers generate visual and sonic representations of Maroon cosmopolitanism, thereby articulating aspects of the lived realities of Maroons whose life experiences diverge from the most commonly circulated characterizations of Maroon society—namely a population isolated from (or even incapable of comprehending) cosmopolitan and national technologies, aesthetic forms, and knowledge systems. Borrowing from jazz discourse, I posit that satisfaction and social poetic proficiencies arise from performers’ adeptness at playing the changes, in other words their capacities to understand the changing social circumstances in which they are acting and selecting expressive gestures that compliment those circumstances. The concept of playing the changes helps initiate a turn away from assessments of right or wrong ("real" or "made up") and focus instead on the ability to portray oneself to one’s best advantage, come what may. Finally, I demonstrate the advantages of pursuing an integrated approach to performance analysis, in which the study of musical and choreographic elements of performance are examined in combination.Music
46
Matoussi, Souad. "Traditions de danse et subjectivités collectives en Tunisie". Paris 8, 2005. http://www.theses.fr/2005PA083702.
Texto completo da fonteResumo:
Dans cette étude, nous avons porté notre attention sur la danse traditionnelle et populaire en Tunisie, tant dans le milieu sacré que profane. La danse collective est étroitement liée au milieu dont elle émane. Elle représente un moyen d’expression privilégié qui véhicule plusieurs aspects de la vie d’un groupe et de son organisation sociale. C’est pourquoi il nous paru pertinent d’étudier la relation étroite entre danse et société en Tunisie. Cette étude de la danse porte sur sa nature, ses usages, sa fonction et la place qui lui est conférée dans la société tunisienne. Pour éclairer toutes ces questions, la présente investigation a été traitée trois parties. Dans la première partie, nous avons essayé de situer la danse tunisienne dans l'éclairage que peuvent lui apporter la religion avec ses normes et tabous et l'histoire avec sa dynamique d'échanges entre différentes cultures et civilisations. Dans la deuxième partie nous avons tenté de décrire et de classifier les danses tunisiennes selon leur fonction (rituelle ou cérémonielle), leurs acteurs (professionnels ou bénévoles) ainsi que leur genre (danse masculine ou féminine). Dans la dernière partie, nous avons essayé de réfléchir sur tous les éléments fournis dans la première et deuxième partie. Notre effort d’interprétation et de synthèse a visé d’abord à définir la place de la danse dans la culture tunisienne et ses fonctions sociales. Ensuite, nous avons considéré la danse comme une expression qui réfléchit les mentalités de chaque groupe ainsi que son identité. Enfin nous avons étudié l’état de la tradition tel que l’enquête de terrain nous a permis de saisirIn this study an attempt has been made to consider Tunisian traditional and popular dancing, both in its sacred and profane milieu. Collective dancing is deeply linked to the environment from witch it emerges. It’s also considered as a form of expression that conveys various aspects of collective life as well as social organisation. Thus, it’s interesting to study the close relationship between dancing and society in Tunisia. In this study, we tried to examine Tunisian popular dancing, its nature and its uses as well as its function and place it holds in Tunisian society. This work is composed of three main parts. Part one tries to situate Tunisian dancing in its relation with two important elements: religion with its norms and taboos; history with its dynamic of exchanges and interactions between different cultures and civilisations. In the second part, we tried to describe and classify Tunisian dances both according to its functions (ritual, ceremonial) and its actors (professional, devotee) also according to gender (masculine, feminine). In the third and last part, we tried to focus on all those elements presented in the first and second part. Our interpretation aimed at, first defining the place of dancing in Tunisian culture as well as its social functions. We then tried to consider dancing as an expression that conveys different groups’ mentalities and identities. Finally, we attempted to study the tradition using fieldwork
47
Tafferner-Gulyas, Viktoria. "Caribbean Traditions in Modern Choreographies: Articulation and Construction of Black Diaspora Identity in L'Ag'Ya by Katherine Dunham". Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5137.
Texto completo da fonteResumo:
The interdisciplinary field of Dance Studies as a separate arena focusing on the social, political, cultural, and aesthetic aspects of human movement and dance emerged in the late 1980s and early 1990s. Dance criticism integrated Dance Studies into the academy as critics addressed the social and cultural significance of dance. In particular, Jane Desmond created an integrated approach engaging dance history and cultural studies; in the framework of her findings, dance is read as a primary social text. She emphasizes that movement style is an important mode of distinction between social groups, serving as a marker for the production of gender, racial, ethnic, and national identities.
In my work, I examined the ways in which the African American identity articulates and constructs itself through dance. Norman Bryson, an art historian, suggests that approaches from art history, film and comparative literature are as well applicable to the field of dance research. Therefore, as my main critical lens and a theoretical foundation, I adopt the analytical approach developed by Erwin Panofsky, an art historian and a proponent of integrated critical approach, much like the one suggested by Bryson; specifically, his three-tiered method of analysis (iconology). I demonstrate that Erwin Panofsky's iconology, when applied as a research method, can make valuable contributions to the field of Dance Studies. This method was originally developed as a tool to analyze static art pieces; I explore to which extent this method
is applicable to doing a close reading of dance by testing the method as an instrument and discovering its limitations.
As primary sources, I used Katherine Dunham's original recordings of diaspora dances of the Caribbean and her modern dance choreography titled L'Ag'Ya to look for evidence for the paradigm shift from "primitive" to "diaspora" in representation of Black identity in dance also with the aim of detecting the elements that produce cultural difference in dance.
48
Boonserm, Pawinee. "Tradition and transformation of Thai classical dance : nation, (re)invention, and pedagogy". Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/27274.
Texto completo da fonteResumo:
This research aims to analyse the role and consequence of state patronage and promotion of Thai classical dance after the revolution of 1932, when the patronage of court dance changed from royal to state support. This research examines connections between the authority of the state, nationalism, Thai identity, and the invention of tradition, by focussing on the reconstruction of Thai classical dance, the promotion of spirituality in the Wai Khru ceremony, and dance pedagogy. This study uses historical research and ethnography through participant-observation, and interviews with senior dance teachers, national artists, masters of the Wai Khru ceremony, and dance artists in the Fine Arts Department, and also draws on the researcher’s personal experience in dance training as a dancer and dance teacher for several years. The thesis offers a detailed analysis of the socio-political context and cultural policy in relation to the establishment of the Fine Arts Department and the Dramatic Arts College; the national institutions whose main roles were to preserve, perform and offer training in traditional dance. After the revolution of 1932, the Fine Arts department played an important role to authorise, preserve, and standardise Thai classical dance. The function and meaning-making processes surrounding dance changed in accordance with the development of Thai identity and cultural policy. During the period 1932-1945, state policy emphasised the homogeneity of ‘Thai-ness’ and civilization, and traditional dance was adapted and combined with classical, folk and western elements. However, after the mid-1940s, the socio-political and cultural policies changed; the state operated the project of cultural revivalism. The court dance style and its rituals were revived with the establishment of a code of ‘classicalism’ which became the central aesthetic identification of Thai identity. The newly-coined classicalism has become the standard, and has been passed on to succeeding generations in the new educational system. These new invented traditions were preserved as if they were sacred, a practice which continues to the present.
49
McDermott, Paul Francis. "From the dance floor to the concert hall: Creating a unique compositional voice fusing Electronic Dance Music traditions with experimental practice". Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/27609.
Texto completo da fonteResumo:
The aim of this practice-based research project is to investigate innovative techniques in the composition and presentation of electronic music that draw on the history of Electronic Dance Music (EDM) and seek to discover new modes of expressive listening experiences removed from the dance floor environment. This study will help illuminate the differing expectations of the dance floor and the concert hall as an investigation of ways to expand the creative potential of both perspectives. A review of electroacoustic and EDM music and the musicological literature will be undertaken to understand the existing schools of thought that separate these traditions.
To develop an understanding of this composer’s current practice, a study of EDM and its roots will be undertaken, tracing the evolution of dance music, beginning with disco, and following it through to contemporary EDM. This discussion will situate my work within the Australian EDM scene as artist, producer, DJ/curator, and frame the wider aspirations of the creative portfolio which consists of three major works: Mesmerism, an audio album and live audio/visual dance party event; Miyagan, an electronic score for Bangarra Dance Theatre, and The Rise & Fall of St. George, an electronic music theatre work.
50
Kwashie, Kuwor Sylvanus. "Transmission of Anlo-Ewe dances in Ghana and in Britain : investigating, reconstructing and disseminating knowledge embodied in the music and dance traditions of Anlo-Ewe people in Ghana". Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/transmission-of-anlo-ewe-dances-in-ghana-and-in-britain(9ff88a5d-cdbe-4c58-9c5b-84cbe08c4f22).html.
Texto completo da fonteResumo:
Among the Anlo-Ewe of Ghana, dance functions essentially as a pivot around which indigenous cultural practices revolve. Anlo-Ewe music and dance tradition which is the focus of this study, serves as a dynamic tool in the transmission of indigenous knowledge, skills, values and virtues. In addition to being a repository of Anlo-Ewe knowledge dance provides the avenue through which dancers, musicians, story tellers and visual artists are able to document, preserve and transmit indigenous knowledge and reenact the historical, socio-cultural and political structure of the Anlo-Ewe. Twenty-first century global cultural transformation in the midst of constant human migration continues to influence Anlo-Ewe cultural forms. Commodification of dance has affected the educational and cultural function of Anlo-Ewe dance and its related arts and continues to reduce them to mere entertainment activities. Due to these challenges, some Anlo-Ewe youths in Ghana and in Britain are gradually being separated from their cultural heritage and therefore, losing cultural identity. In view of the above, this study responds to the need to examine the elements and functions of Anlo-Ewe dance in the transmission of indigenous knowledge and values to serve as a source of information to help policy makers to create and promote the awareness of the use of Anlo-Ewe knowledge and values among Anlo-Ewe youths and scholars in Ghana, Britain and the diaspora. It investigates the indigenous knowledge and values embedded in Anlo-Ewe dance and the extent to which these cultural forms can be harnessed in building contemporary society in both the indigenous and the international settings. Therefore, this thesis focuses on the dance tradition of the Anlo-Ewe people in Ghana, its emergence in Britain as an art form in cross-cultural education as well as its dynamics or processes of change within the indigenous and international settings. It uses fieldwork including iii auto-ethnography and focuses on my own practice and the 21 years of operations by the British funded ‘Adzido Pan-African Dance Ensemble’ (1984-2005), a Ghanaian group that brought Anlo-Ewe dances to Britain. Through the lenses of key concepts including heritage, aesthetics, identity, nationalism and representation, I explore the fundamental elements of Anlo-Ewe dance, its use and significance as well as how it can be harnessed to serve the needs of contemporary multicultural society.