Dissertationen: „Transmission practices in dance“

1

Sini, Alessandra. „« Danza di ricerca » : corporéités, espaces et discours en mouvement. : Les pratiques chorégraphiques de Fabrizio Favale, Michele Di Stefano, Alessandra Sini (Italie, 1995-2010)“. Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2013.

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À la croisée de l'histoire et de l'esthétique de la danse, cette étude propose une approche analytique et poïétique des processus de recherche que les chorégraphes italiens Fabrizio Favale, Michele Di Stefano et Alessandra Sini ont entrepris entre 1995 et 2010. Leurs singularités ainsi que les concepts et les stratégies chorégraphiques qu'ils partagent illustrent la vitalité et la portée critique des réseaux artistiques actifs dans une période significative de l'histoire de la danse italienne récente. Parmi les expressions qui définissent les expériences de la danse contemporaine de la même période, la catégorie émique « Danza di ricerca » est proposée ici pour identifier une démarche constante dans leurs expérimentations, qui se transforment dans le temps, au fil des rencontres et en relation aux politiques culturelles dans lesquelles elles s'inscrivent. La mémoire incarnée de danseuse, chorégraphe, spectatrice et témoin de l'auteure de cette thèse est mise à l'épreuve des outils de l'analyse chorégraphique, du mouvement et de la transmission fournis par les études en danse. Le dépouillement des archives personnelles des chorégraphes, l'étude des documents audiovisuels, textuels et graphiques des évènements performatifs ainsi que des entretiens avec les chorégraphes, des danseurs de leurs compagnies et des personnalités qui ont eu un rôle significatif dans ces parcours artistiques, complètent le portrait collectif d'une génération d'artistes chorégraphiques qui a contribué au développement de la danse contemporaine italienne, en lien et en résonance avec d'autres expériences internationales
At the crossroads of dance history and aesthetics, this thesis proposes an analytical and poetic approach to the research processes that Italian choreographers Fabrizio Favale, Michele Di Stefano and Alessandra Sini undertook between 1995 and 2010. Their singularities as well as the choreographic concepts and strategies they share, illustrate the vitality and critical scope of the artistic networks active in a significant period of recent Italian dance history. Among the expressions defining the contemporary dance experiences of the same period, the emic category “Danza di ricerca” is proposed here to identify a constant approach in their experimentations, which have transformed over time, through encounters and in relation to the cultural policies in which they are embedded. The embodied memory of the author of this thesis as a dancer, choreographer, spectator and witness is tested using the tools of choreographic, movement and transmission analysis provided by dance studies. The analysis of the choreographers' personal archives, the study of audiovisual, textual and graphic documents of performance events as well as interviews with the choreographers, some of the dancers from their companies and some personalities who played a significant role in their artistic careers, complete the collective portrait of a generation of choreographic artists who contributed to the development of Italian contemporary dance, in relation and resonance with international experiences

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Thorndike, Ashley P. „Articulating Dance Improvisation: Knowledge Practices in the College Dance Studio“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275069682.

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3

Brown, Carol. „Inscribing the body : feminist choreographic practices“. Thesis, University of Surrey, 1994. http://epubs.surrey.ac.uk/619/.

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4

Konnyu, Kristin Julianna. „Dance as a therapeutic intervention : physical therapists' beliefs and practices“. Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/1595.

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Background: Activity and exercise that are sustainable are essential for maximizing their long-term health and therapeutic benefits. Physical therapists (PTs), as clinical exercise specialists, are committed to the exploitation of these benefits. Dance is often perceived as social and enjoyable, both potentially motivating factors that could contribute to its being such a sustained activity. Purpose: To describe the beliefs and practices of PTs regarding the use of dance as a therapeutic intervention for individuals at risk of or experiencing one or more chronic lifestyle conditions. A secondary aim was to establish an appropriate estimate of statistical power and effect size for subsequent survey or intervention studies. Design: Descriptive study based on a self-administered questionnaire. Subjects and Methods: A 5-page survey questionnaire, comprised of 67 items was developed and pre-tested prior to distribution to 231 PTs (with an anticipated response rate of 40%). Public and private practitioners were randomly sampled from the 2008 list of registered PTs in British Columbia. The randomized population was contacted up to five times according to Dillman’s method. Results: The survey resulted in 136 returned questionnaires (124 returned by respondents, 12 returned undeliverable) resulting in a response rate of 57%. Respondents expressed moderate to high agreement that dance could positively impact clients’ physiological and psychological states. Although most respondents did not prescribe dance, they expressed interest in doing so. Finally, the majority of respondents were amenable to the inclusion of dance in physical therapy practice, professional development education, and research. Rather than inclusion in entry-level education however, most respondents believed dance should be a post-graduate education topic. Discussion and Conclusion: We believe that this is the first study designed to examine the beliefs and practices of PTs with respect to use of dance as a therapeutic intervention. PTs appear responsive to recommending dance as an activity alternative, and are interested in learning more about its use as a therapeutic intervention and/or health promotion activity. Notably, dancing’s perceived social and enjoyable features were cited by PTs as potential facilitating factors that could sustain long-term participation and corresponding health benefits.

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Hildebrandt, Antje. „Expanding the object : post-conceptual dance and choreographic performance practices“. Thesis, University of Wolverhampton, 2014. http://hdl.handle.net/2436/558802.

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This project is concerned with exploring the relationship between postconceptual dance and its state as object. As a practice-led research project it aims to do so both through the written thesis and through artistic practice, which is here presented as a series of video projects that extend representations of dance. Over five chapters I trace the permutation of the ‘object’ from choreographer to spectator, participant, editor, collector and ‘reframer’, arguing for the multiplicity of roles that choreographers, and by extension dancers, take on at the beginning of the 21st century. My interdisciplinary research draws from a variety of theoretical discourses including performance theory, visual cultures and critical theory, and is therefore both relevant to the field of dance studies and beyond the discipline. Given the practice-led nature of the project, my aim has been to expand choreographic performance practices and to increases the range of ‘objects’ that can be considered dance. Therefore, the project resides in the gaps and tensions between practice and theory, performance and documentation, language and dance, text and movement, choreography and objecthood. Throughout I argue that post-conceptual dance operates within an extended field in which dancers and choreographers are expanding the boundaries of the art form, making dance relevant to a broader artistic, cultural, political and social context.

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Gainer, Natalie. „Dancing Latinidad: Salsa Practices and Latino/a Identity at Brasil's Nightclub“. Master's thesis, Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/396279.

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Dance
M.A.
This thesis investigates Brasil’s Nightclub, a Philadelphia salsa club, as a site at which notions of Latino/a identity are produced and performed. Research for the thesis was conducted over the course of five months and was ethnographic in nature. From February 2016 until June 2016, the author attended Brasil’s Nightclub and collected participant observations and interviews. Findings reveal how the club accommodates multiple conflicting narratives of Latino/a identity and how these narratives are embodied through salsa dance practices.
Temple University--Theses

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Murphy, Siobhan. „Practices of tactility remembering and performance“. Connect to thesis, 2008. http://repository.unimelb.edu.au/10187/4379.

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‘Practices of tactility, remembering and performance’ is a practice-led inquiry in which performance-making and writing are equal partners. The thesis comprises a performance folio and a dissertation. The folio comprises two performance works.
the backs of things: This 35-minute work for two dancers had a public season mid-way through the candidature (September 8th – 11th 2005). A DVD documentation is submitted with the dissertation.
here, now: This 50-minute multi-modal performance was presented for assessment during a public season of six performances (March 22nd – 25th 2007). It is a solo piece in which I perform. The work was attended by the examiners and a DVD documentation is submitted with the dissertation.
The dissertation provides a ‘narrative of a practice’ focused on tactility, remembering and performance. It elucidates what has arisen through the dual modalities of performance-making and writing. The dissertation is not an exegesis of the performance folio. Rather, it is a critical and reflective account of the practice within which the performances reside.
The arc of emergent meaning in the narrative of practice comprises three phases: Precedents; Choreographic Tactility; and Intercorporeal Remembering. In the first phase, I discuss the precursors to my subsequent practice of tactility and remembering. I detail how I sought to diminish the effects of the objectifying gaze by staging a series of interventions into the visual field of the dance. In the second phase, I articulate my use of touch, naming it a practice of choreographic tactility. I outline the connectivity of touch and suggest that it fosters an understanding of the intercorporeal nature of selfhood. I posit practices of tactility as arenas for a relational ontology.
In the third phase, I take the notion of intercorporeality thus established and show how it engenders an embodied knowledge of remembering. I define a range of heuristic devices that I established so as to craft remembering in my performance practice. Finally, I draw the discussion of tactility and remembering towards what I term an ‘aesthetics of tactility’. I describe this as a performance domain where intercorporeal remembering is privileged. This is instantiated in the poetic remembering of here, now with which the dissertation closes.

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Theodoridou, Danae. „Short (research) stories : drama and dramaturgy in experimental theatre and dance practices“. Thesis, Roehampton University, 2013. http://hdl.handle.net/10142/283932.

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This practice-as-research project discusses modes, processes and aesthetics of contemporary dramaturgy, as practiced in experimental theatre and dance works in Europe from the 1990s onwards. In order to do this, the project draws particularly on discourses around ‘drama’ and suggests that the term can be redefined and usefully rehabilitated for both analysis and the creation of experimental performances. More specifically, this project defines drama (deriving from the Greek dro=act) as stage action, and dramaturgy (deriving from the Greek drama + ergo= work) as a practice that works endlessly for the creation of this drama/action on stage and is therefore always connected with it. In order to approach the newly proposed notion of ‘experimental drama’, this research uses the six main dramatic elements offered by Aristotle in his Poetics: plot, character, language, thought, the visual and music. Furthermore, it adds a seventh element: the spectator and contemporary understandings around the conditions of spectatorship. It then offers an analysis of dramaturgical processes and aesthetics of experimental stage works through these elements. Given that this is a practice-as-research project, it is accordingly multi-modal and offers its perspectives on dramaturgy and experimental drama through both critical and performance texts, documentation traces (photographs and video recordings) of artistic practice – all present in this thesis – and a live event; all these modes complement each other and move constantly between the stage and the page to proceed with the research’s inquiries. The current thesis has borrowed the dramaturgical structure of two artistic projects, created within the frame of this research practice, to generate its writings. The introductory parts of this text place the work within the discourse on practice-as-research and discuss the project’s proposal for an analysis of contemporary dramaturgy through drama. The Short (Research) Stories that follow analyze experimental works, created both within the frame of this research practice and outside it, by other artists, following the Aristotelian model. The element of spectatorship intervenes in this analysis instead of standing separately in the thesis. The project’s closing live event returns from the page to the stage to continue and add to discussions around central issues of the work, in its various distinct modes.

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Masunah, Juju. „A case study of the multicultural practices of two United States dance educators implications for Indonesian K-9 dance education /“. Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211764897.

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Curda, Barbara. „Enjeux identitaires, relationnels et esthétiques de la transmission de la danse Odissi en Inde. Le cas d'une école émergente à Bhubaneswar“. Thesis, Clermont-Ferrand 2, 2013. http://www.theses.fr/2013CLF20063.

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Cette thèse porte sur le rapport entre les normes sociales, les pratiques pédagogiques et l’esthétique dans la danse Odissi en Inde. Apparue sur la scène post-coloniale dans la période de l’après-indépendance du pays en tant que « danse classique », l’Odissi véhicule, en dépit du caractère hétérogène, voire multiculturel, de ses pratiquants, des revendications identitaires relatives à l’Etat indien d’Orissa, rebaptisé Odisha en 2011. La recherche a été menée à partir de terrains successifs effectués principalement dans la ville de Bhubaneswar, capitale de l’Orissa, et plus particulièrement dans une école de danse émergente.Un examen des narrations historiques concernant les années de fondation de la danse ainsi que des éléments mythiques sur lesquels les protagonistes basent les représentations de celle-ci, permet d’identifier l’organisation sociale de la communauté des pratiquants, qui se manifeste notamment dans la généalogie officielle de l’Odissi. Dans le cadre de l’observation des pratiques de danse dans l’école, il apparaît que cet ordre social est réactivé discursivement par le maître aux moments des entraînements quotidiens des danseurs. Il use ainsi d’assignations identitaires dans le cadre de son activité pédagogique, tissant des liens dialectiques entre certaines valeurs morales, une éthique relationnelle entre pratiquants, et les pratiques. Ce mode d’action renforce certes la structure hiérarchique de l’école. Toutefois, du point de vue des pratiquants, cette instauration d’un sens moral de la situation se rapporte à certaines qualités esthétiques intrinsèques à la danse, qui apparaît alors comme une manière d’être plus qu’une manière de faire
This thesis addresses the relation between social norms, pedagogical practices and aesthetics in Odissi dance in India. Despite the heterogeneous and even multicultural nature of its practitioners, Odissi, which appeared as a “classical dance” on the post-colonial stage during the country’s post-Independence era, is a vehicle for identity claims relative to the Indian State Orissa, renamed Odisha in 2011. The research was undertaken during successive fieldwork periods mainly in the state capital of Bhubaneswar, and more specifically in an emerging dance school.The social organisation of the community of practitioners, which manifests itself in the official genealogy of Odissi, is identified through an examination of historical narratives on the foundation years of the dance, and of mythical elements on which protagonists base their representations. From observation of dance practices in the school, it becomes clear that this social order is reactivated discursively by the master during daily training sessions. He literally uses identity ascriptions in his pedagogical activity, creating links between certain moral values, a relational ethics between practitioners, and dance practice. This mode of action certainly reinforces the hierarchical structure of the school. However, from the point of view of the practitioners, the institution of a moral sense of the situation is related to certain aesthetic qualities of the dance, which then appears as a mode of being rather than a mode of doing

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Lawrence, Kate. „Up, down and amongst : perceptions and productions of space in vertical dance practices“. Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/845092/.

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Vertical dance is a new and collaborative form of dance that typically utilises rock climbing equipment to suspend dancers against a range of vertical surfaces in public spaces. Its effects are to alter familiar systems we use to orientate ourselves in space and to produce or change social spaces. My pedagogical practice (2002 – the present day) and a portfolio of choreographic outputs (created and performed between 2009 and 2015) are of primary importance in my investigation into how I perceive space when dancing on a tilted floor and how this vertical stage and its location in social space influences my choreographic practice. The thesis begins with a manifesto for vertical dance that condenses the central arguments into a set of instructions. There follows a categorization of the form using prototype theory (Wittgenstein, 1953; Rosch, 1978; Lakoff, 1987) applied to a set of vertical dance case studies from the 1970s to the present day. I discuss how the specific spatial parameters of vertical dance affect how a dancer orientates herself on a vertical floor, and how a choreographer on the ground communicates with a dancer on a wall above, drawing on spatial theories in dance and cognitive linguistics (Laban, 1966; Levinson et al., 2002 and Lakoff and Johnson, 1980). Lefebvre’s (1974) work on the production of social space as an intersecting triad of spatial practice, representation of space and representational spaces, and recent site-specific discourse (Kwon, (2004), Kester (2004)), (e.g. Kaye (2001), Hunter et al. (2015), Pearson (2010), Kloetzel and Pavlik (2009)) are used to analyse how space is produced and changed, and how the built environment is reminded of nature through the vertical dancing body at diverse locations such as Belfast City Hall, Welsh Government offices, a WW2 German submarine station in France and Guildford Cathedral.

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Farrugia, Kathrina. „Transmodern dance practices : Angelin Preljocaj, Mauro Bigonzetti and revisions of Les Noces (1923)“. Thesis, London Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573408.

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In this thesis, I examine the current state of choreographic postmodernism in the wake of recent theories of transmodernism in film and literature studies. Moving from an analysis of revisionist choreographic practices, my aim is to retrace the unwritten histories of particular revisions of Bronislava Nijinska's Les Noces (1923), namely those by Angelin Preljocaj and Mauro Bigonzetti. Whilst their syntactical organisation of choreographic vernacular and thematic treatment of the subject matter, mise-en-scene and choreographic form differ, Preljocaj and Bigonzetti share a common interest, namely their engagement with the choreographic legacies of the artistic migration in their indigenous context and their interest in revising artistic, cultural and narrative artefacts including the Ballets Russes repertoire (1909-1929). Through the analyses of their creative practices and their revisions of Les Noces, I situate the parameters and extensions of the postmodern genre against newer theories of transmodernism that align themselves more readily to the choreographic interest in tracing established histories and practices. The theoretical developments of transmodernism in dance impact two significant areas: firstly, understanding of notions of border-crossing and artistic alterity from existing choreographic legacies, and secondly, revisions of ballet histories associated with works of historical significance. The study suggests choreographic revisionism as transmodern dance practices, where the weight of existing performance histories is re-organised and reconfigured into multidimensional and non-linear identities. The three parts of this thesis are organised in the following way. The first part provides a theoretical context for revisions of Les Noces (1923) as well as a theoretical underpinning to the theories of revisionism and transmodernism. In the second part, at the core of the enquiry, I trace recent dance histories through the choreographic works created by Preljocaj (1985-2010) and Bigonzetti (1990-2010) and their revisions of Les Noces. In the third and final part, the research draws on analyses of Noces (1989) and Les Noces (2002) to facilitate an application of a theorisation of transmodernism in dance and its potential to further the field of dance studies

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Dallman, Paula Ann 1949. „PRELIMINARY ASSESSMENT OF CONDITIONING PRACTICES IN SUPPORT OF MULTIPLE DISCIPLINE DANCE TRAINING (FLEXIBILITY)“. Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/276391.

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14

Fuller, Melanie. „Injury surveillance and monitoring during transitions in dance training and careers including end-user perceptions towards training load practices“. Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/207339/1/Melanie_Fuller_Thesis.pdf.

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This research investigated injuries across and within a training year and career phases in ballet and contemporary dance. The perceptions of artistic and health professionals regarding training practices were also explored. In tertiary dance, 50% of students were injured in the first seven weeks of the program, and certain weeks across the program resulted in higher injury rates. Across one semester, spikes in stress leading to performances, and spikes in load and injury to recommence technique training were observed. Artistic staff were perceived to be responsible for planning training, providing insights for future research into injury prevention in dance.

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Wray, S. „Towards embodiology : modelling relations between West African performance practices, contemporary dance improvisation and 'seselelame'“. Thesis, University of Surrey, 2017. http://epubs.surrey.ac.uk/813172/.

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This inquiry concerns dance improvisation as a mode of performance demonstrated in West African cultures, raising questions concerning the knowledge, skills and techniques performers display in related dance and drumming practices. Improvisation in West African contexts resists contemporary dance practice’s universalising concepts; this investigation is undertaken to allow a neo-African perspective of improvisation to emerge and take its place within dance studies. I thus examine practices of several ethnic groups which consistently reveal uses of six component-principles: Dynamic Rhythmic, Fractal Code, Inner Sensing and Balance, Play and Decision Making, Collaborative Competition and Audience Proxemics. Combined to form a hypothetical model of improvisation-asperformance practice, I interrogate this group of aesthetic concepts and their interrelations using Practice as Research (PaR) and autoethnographic methods. A multi-phased and multimodal investigation ensues, combining textual and video analysis, studio workshops in the USA and UK and fieldwork in Ghana, leading to the generation of new improvisation methods that employ and demonstrate West African knowledge. Dissecting rhythmic acuity builds performers’ capacities to generate and sustain improvised performance. An examination of the relationship between dance and music and an emergent theory of culturally specific sensory knowledge - seselelame - are both central to developing a fuller understanding of this neo-African aesthetic. I apply a decolonising filter throughout this research, clearing a space for performers’ expertise, weaving a range of critical positions to emphasise the need for a more contemporary and inclusive analysis of non-Western approaches to improvisation–as-performance. Thus, within intercultural contexts I observe, participate, create, collaborate, teach, train and perform: all of which serve to move toward a new field of knowledge, “Embodiology”. This West African-informed theory of improvisation-as-performance contains an analytical tool useful to evaluate improvisation in dance and other contexts. Research modes intersect analytically throughout the 70:30 ratio split between the written submission and documented practical work.

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Panagiotara, Panagiota. „Dance chronicles from Athens : artistic practices, structures & discourses in a period of crisis“. Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/Dance-Chronicles-from-Athens(afc65b63-955c-4c21-b153-1c71ffbef27a).html.

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What does it mean to be an artist in a period of crisis? This thesis examines how an artistic scene operates during times of crisis through specific case studies. In particular, it explores contemporary dance in Athens from 2008 - when an extended period of financial and sociopolitical turbulence erupted - until 2016, focusing on the history and transformation of existing infrastructures and government policies during this period and new practices, structures and discourses that have emerged in response to this changing context. The methodological approach combines bibliographic, ethnographic and auto-ethnographic approaches that allow for participant-observation and analysis of particular case studies. Through the deployment of anecdote as an explicit methodology, the thesis discusses: • key terms shaping recent understandings in the art and humanities of contemporary culture and their manifestation in Greece, including: crisis, neoliberalism, debt and precarity. • established institutions, policies and discourses that have shaped the local dance culture prior to and during the period of crisis under investigation. • emerging artistic initiatives and production modes that support a culture of dialogue and collaborative practices. • forms of infrastructure that arise in between official institutions and grassroots’ initiatives. These themes are explored as part of the rapidly shifting socio-political and cultural landscape of Greece, which has come to symbolize a broader crisis facing the reshaped European political project. Whilst exploring the specifics of the Greek context during this period, this thesis is part of and contributes to the wider debate occurring in the performing arts about the role of the artist in neoliberalism. Providing a detailed case study that explores such issues in real time, it argues for the significance of specificity when dealing with generic terms such as crisis, neoliberalism and the arts.

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Butterworth, Melinda. „Knowledge, Perceptions, and Practices: Mosquito-borne Disease Transmission in Southwest Virginia“. Thesis, Virginia Tech, 2009. http://hdl.handle.net/10919/33045.

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Virginiaâ s temperate climate is suitable for several mosquito species capable of transmitting pathogens to humans. In southwest Virginia, La Crosse encephalitis and West Nile fever are most prominent. The objective of this research, which uses the Health Belief Model (HBM) as a theoretical framework, is to assess knowledge of mosquito-borne disease in southwest Virginia, as well as perceptions and practices of mosquito prevention. Given that several cases of La Crosse encephalitis have been reported in Wise and Tazewell counties, they were selected as study sites to conduct surveys. Five demographic and socioeconomic variables (gender, age, income, education level and length of time one has lived in the county) were used as predictor variables in logistic regression analyses. Gender, age, and length of residence time in the county were found to be statistically significant predictors of specific health-related behaviors. Within the framework of the HBM, barriers to removing standing water around the home and wearing insect repellent were highlighted. Knowledge of mosquito-borne diseases within the area was generally low, with only one individual correctly identifying La Crosse encephalitis as a threat in the region. Higher numbers (6%) were aware of West Nile virus, while 4% reported malaria in the region, demonstrating a disconnect between actual and perceived risk. These results can enhance existing public health programs by increasing knowledge, addressing public uncertainty about insect repellent safety, and addressing ways to make recommended practices more effective with the knowledge of how different aspects are perceived by varying groups within the community.
Master of Science

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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.

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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.

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Caplat, Jacques. „Quand le geste technique transforme l'intention : l'évolution de l'accordéon diatonique en Bretagne“. Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH139/document.

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Ce travail vise à comprendre pourquoi et comment l'accordéon diatonique breton a connu une profonde transformation organologique et stylistique au cours des dernières décennies. L'évolution de l'instrument est ici le témoin des dynamiques historiques et sociales, que l'accordéon présente la particularité d'avoir intégrées dans sa forme-même du fait de sa rare plasticité, et qu'il permet d'éclairer. Statut des musiciens professionnels au sein d'une pratique restée massivement amateur, rôles et mécanismes de l'apprentissage d'un savoir traditionnel initialement basé sur l'oralité, fluctuation des attentes sociales à travers les générations successives, sont quelques-uns des aspects qui se dévoilent au fil de l'étude et qui se relient.À partir du constat d'une mutation organologique progressive, nous chercherons à comprendre les modifications profondes des fonctions sociales jouées par l'instrument. Un retour historique permettra de définir les intentions et le statut des « pionniers » du renouveau de l'accordéon diatonique breton dans les années 1970. En nous appuyant sur ce socle, nous montrerons comment l'accordéon en tant qu'outil est en interaction étroite et permanente avec le geste du musicien et avec son intention (produire des notes – et dans quelle fonction sociale), et combien le passage des générations a renouvelé le contexte d'exposition de l'accordéon et le statut des musiques bretonnes dites « à danser ». Ainsi, nous verrons que la modification progressive de l'intention a conduit à une modification de l'instrument, mais que celle-ci, en retour, fragilise l'efficacité des intentions antérieures
This work aims to understand why and how the Breton diatonic accordion has undergone a profound organological and stylistic transformation during the last decades. The evolution of the instrument here reflects the historical and social dynamics, that the accordion has integrated into its very form because of its rare plasticity, bringing them into light. The status of professional musicians in a largely amateur context, the roles and mechanisms of learning traditional knowledge initially based on orality, the fluctuation of social expectations through successive generations, are some of the aspects that unfold over the course of the study and connect with one-another.Starting from the observation of a progressive organologic change, we will seek to understand the profound changes of the social functions played by the instrument. A historical overview will allow to define the intentions and the status of the "pioneers" of the revival of the Breton diatonic accordion in the 1970s. Based on this foundation, we will show how the accordion as a tool is in close and permanent interaction with the musician's gesture and with his intention (producing notes – and in what social function), and how much the passage of generations has renewed the context of use of the accordion and the status of Breton music said "to be danced". Thus, we will see that the progressive modification of the intention led to a modification of the instrument, but that this, in turn, weakens the effectiveness of the previous intentions

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Pontal-Sanchez, Marion. „La danse salsa en France : Transmission de techniques et genèse de corporéités interculturelles“. Electronic Thesis or Diss., Université Côte d'Azur, 2022. http://www.theses.fr/2022COAZ2041.

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La danse salsa est une pratique musico-chorégraphique hybride qui entremêle les propriétés techniques et esthétiques à la fois d'une danse, d'un univers culturel, d'un art du spectacle mais aussi d'un genre musical. Le nouveau contexte de la scène au sein de laquelle cette danse populaire évolue s'est avéré déterminant pour la reconnaissance et le développement de la création chorégraphique. Les festivals spécialisés de salsa se sont multipliés à partir des années 2000, invitant les danseurs français à s'approprier une danse venant d'une culture éloignée. Affectée par les facteurs historiques, commerciaux et politiques, la danse salsa voit se modifier les manières de la chorégraphier et de la pratiquer. Les éléments fondamentaux de base de la création chorégraphique tels que le corps, l'espace, le temps, l'énergie sont transgressés par une mixité de styles contrastés et de formes provenant d'imaginaires, de sons ou de gestes. Comment les performances scéniques participent-elles à l'évolution et à la redéfinition de cette pratique ? Que reste-t-il alors de la « salsa traditionnelle » ? À partir d'un travail de terrain en France et dans les Alpes-Maritimes, cette thèse aura pour objet de montrer que cette pratique internationale est marquée par de nombreux débats autour des questions de tradition et modernité du fait de la diversité de ses styles de danse, de ses cultures, de ses moyens de transmission et de diffusion ainsi que de ses pratiquants. L'engagement corporel du danseur dépend de plusieurs facteurs : sa motivation liée au contexte dans lequel il évolue, sa sensibilité par rapport aux choix musicaux, sa capacité physique à exécuter les mouvements corporels et enfin son identification sociale et culturelle
Salsa dancing is a hybrid multi-choroegraphical exercise which mixes technical and aesthetical properties from a dance, a cultural universe, a performing art but also a musical genre. The new concept of performing on stage in which this popular dance is evolving was crucial for the recognition and the development of the choreographic creation. The specialized salsa festivals have multiplied in the 2000s, inviting french dancers to appropriate a dance coming from a distant culture. Influenced by historical, commercial and political factors, salsa dancing has seen its practice and choreography change along the time. The basic fundamental elements of the choreographic generation like the body, the space, the time, the energy have been infringed by a diversity of contrasted styles and forms coming from imaginations, sounds or gestures. How stage performances engage into the evolution and the redesign of this practice ? What is left then from the "traditional salsa" ? From the field work in France and in the Alpes-Maritimes, this thesis will have as an objective to show that this international activity is marked by a myriad of discussions and questions between traditions and modernity because of the diversity of dance styles, cultures, transmission and broadcasting mediums and because of its practitioners and performers. The body engagement of the dancer depends on multiple factors : motivation linked to the context in which it evolves, its sensibility with respect to its musical choice, its capacity to execute body moves and, at last, its social and cultural identification

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Ndlovu, Richard Vusi. „Physicians' transmission prevention assessment and counselling practices with their HIV-positive patients“. Thesis, University of Limpopo, 2002. http://hdl.handle.net/10386/2038.

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22

Blanchier, Raphaël. „Les danses mongoles en héritage : performance et transmission du bii biêlgee et de la danse mongole scénique en Mongolie contemporaine“. Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP027/document.

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Au croisement de l’anthropologie sociale et des arts du spectacle, cette thèse est consacrée à la transmission dans les danses mongoles en Mongolie contemporaine. En abordant l’étude de la performance dansée sous l’angle de la transmission, l’objectif principal de ce travail est de comprendre le rôle des danses dans l’engendrement d’un sentiment d’appartenance national. Dans cette perspective, la Mongolie constitue un terrain d’investigation particulièrement fécond. D’une part le bii bielgee, danse des Oirad (Mongols de l’ouest), inscrit au Patrimoine Culturel Immatériel de l’UNESCO, est intimement associé, par ses évocations mimées, au mode de vie pastoral nomade. D’autre part, la « danse mongole scénique », qui en constitue la version professionnelle, donne à ces représentations stéréotypées une légitimité nationale et internationale. Mon analyse des gestes dansés ainsi que mon enquête sur les institutions, les réseaux et les pratiques de transmission et de performance montrent que l’efficacité des danses mongoles repose moins sur les représentations qu’elles véhiculent que sur les conditions relationnelles de leur performance. Les apprentissages formels et informels que j’ai observés, et auxquels j’ai parfois pu participer, visent moins la formation physique des danseurs que la sélection et la légitimation graduelle de ceux d’entre eux qui font montre d’un « talent » (av’yaas) remarquable à se produire en public. Au cœur des processus de transmission se trouve ainsi la distinction entre danseurs et non-danseurs. Capable, par son art de la performance, de susciter des modalités de participation spécifiques chez les spectateurs, le danseur apparaît alors comme un spécialiste quasi-rituel. Délégué du groupe dont il est l’émanation légitime, il déploie ainsi dans le même acte performatif la mise en danse de la culture mongole et la légitimation de celle-ci comme un des fondements de la « mongolité »
Drawing on both social anthropology and performing arts, this thesis deals with the transmission of Mongolian dances in contemporary Mongolia. By studying danced performance from the perspective of transmission, the main purpose of this work is to understand the role dance plays in building up feelings of national belonging. In this regard, Mongolia provides a particularly fruitful field of study. On the one hand, biy biyelgee, the traditional dance of the Oirats (Western Mongols), included on the UNESCO List of Intangible Cultural Heritage, is closely linked to the nomadic pastoral lifestyle by virtue of the mimed gestures it incorporates. On the other hand, what may be called ‘scenic Mongolian dance’, the professionalized version of biy biyelgee, confers national and international legitimacy on these stereotyped representations. My fieldwork study of the institutions, networks and practices underlying the transmission and performance of Mongolian dances shows that their efficacy stems less from the representations they convey than from the relational conditions of their performance. The formal and informal dance training I was able to observe, and sometimes take part in, is oriented less towards the instilling techniques than towards the selection and gradual legitimization of those who exhibit an outstanding ‘talent’ (av’yaas) for performing in public. Indeed, the distinction between dancers and non-dancers lies at the heart of the process of transmission. The dancer, on the strength of his performative abilities, is able to elicit specific modes of participation from the audience, making him/her into a quasi-ritual specialist. As the legitimate emanation of the group which he/she publicly represents, the dancer, in the same performative act, both embodies Mongolian culture through dance and establishes it as a constitutive element of “mongolness”

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Shaw, Charlotte. „Buying a balance : the 'individual-collective' and the commercial new age practices of yoga and Sufi dance“. Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a1fc05ce-7df5-4229-862a-132bbed153de.

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The individual's experience of inner authority takes centre stage in the majority of scholarship on New Ageism, with many writers highlighting this theme as a defnitive characteristic of the spiritual culture. The aim of this thesis is to explore this topic and to ascertain the place of the individual and the collective within two commercial New Age feld sites in London. The qualitative data which lead this investigation were collected from a yoga centre called Shanti and a Suf dance organisation called the Suf Order. From this data, the thesis identifes an individual-collective dialectic, one which manifests in particular forms and with divergent orientations; the result is a multiplicity of types of individualisms which include collective forces. The study makes the case for this argument by focusing on four modes in which, at both sites, the individual and the collective co-produce each other. One, the (collective) class culture of the practitioners informs and is informed by the (individual) ideologies of self that the informants assert. Two, the (collective) capitalist context of the organisations infuence and are perpetuated by the ways the (individual) representatives of those organisations express themselves. Three, (collective) shared principles regarding 'positivity' and 'energy' enforce and are sustained by the (individual) feelings of the student. Four, the (collective) communities of practitioners depend on and contribute to the (individual) set apart status of the teacher. These four manifestations of the individual-collective dynamic appear with different orientations in each feld context; in all versions and in both settings, individual and collective are both present and mutually- constituting forces, but at Shanti the dialectics lean more towards the personal and at the Suf Order, the 'same' dialectics lean more towards the social. Each organisation refects and adds to the intersections, both in their forms and their orientations. In so doing, the two New Age centres present divergent balances of the individual-collective dynamic that correlate with the personal and social dispositions of their respective student bodies.

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Theis, Taylor. „Duality, Symbolism, and Time: A Convergent Practice in Butoh and Surrealist Expression“. Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18390.

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Butoh and Surrealism share some common features, three of which are: duality, symbolism and the manipulation of time. This project is an examination of the intersection of these elements and the development of a movement practice using these three, shared focusing lenses of Butoh and Surrealism, culminating in a performance. The methodology of this study sought to generate movement through improvisation and studio exercises based upon a melded Butoh/Surrealist universe developed through applied research in the convergent elements of duality, symbolism and the manipulation of time. The elements that I distilled ultimately informed movement choices shaping a movement offering; a generated example of what could happen when this choreographic process is applied.

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Ikeakanam, Ottilie Tangeni Omuwa. „Infant feeding practices in the prevention of mother to child transmission in Onandjokwe district hospital, Namibia“. Thesis, Stellenbosch : Stellenbosch University, 2011. http://hdl.handle.net/10019.1/17794.

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Thesis (MCur)--Stellenbosch University, 2011.
ENGLISH ABSTRACT: The impact of infant feeding practices in the prevention of mother-to-childtransmission of HIV raised concerns in the field of health services. Breast feeding adds an additional 15-30% risk of HIV transmission to the infant; therefore, mothers who are HIV-positive are in need of information regarding safe infant feeding. A descriptive design for this particular study was applied with a primary quantitative approach. A convenient sample of sixty (n=60) participants between the ages of 15 – 37 were taken from subjects that enrolled in the prevention of mother-to-child transmission (PMTCT) programme in Onandjokwe district. The sample formed 85% of the target population (N=71). A structured questionnaire with closed and openended questions was used and completed by the researcher. Ethical approval for the study was obtained from the Ethics Committee at the Faculty of Health Sciences, University of Stellenbosch. Permission to conduct the research was obtained from the Ministry of Health and Social Services, Namibia, and the Onandjokwe district Hospital. A pilot study was conducted that constituted 25% of the sample. Validity and reliability was insured by the pilot study and the consultation of an expert in HIV research and an expert in nursing research. The presentation of results was mostly descriptive in nature by using frequency tables and a pie chart. The results showed that all participants (n=60/100%) were offered HIV counselling and testing during antenatal care. Mothers who were HIV positive knew that there is a possibility that the baby might be infected through breast milk. Furthermore, the study found that 70% (n=42) of participants used breast feeding exclusively, 20% (n=12) used replacement feeding and 10% (n=6) used mixed feeding practices. It was concluded that pregnant women and mothers known to be HIV-infected should be informed of the infant feeding practice recommended by the national or subnational authority to improve HIV-free survival of HIV-exposed infants. This includes information about the risks and benefits of various infant feeding options based on local assessments and guidance in selecting the most suitable option for their own situation.
AFRIKAANSE OPSOMMING: Die invloed van voedingspraktyke vir babas by die voorkoming van moeder-na-kindoordrag van die menslike immuungebrekvirus (MIV) het kommer op die gebied van gesondheidsdienste laat ontstaan. Borsvoeding dra ’n addisionele 15–30% risiko van MIV-oordrag tot die baba by en daarom benodig moeders wat MIV-positief is inligting ten opsigte van veilige voeding van hulle babas. 'n Beskrywende ontwerp vir hierdie besondere studie is gebruik tesame met 'n primêr kwantitatiewe benadering. 'n Gerieflikheidsteekproef van sestig (n=60) deelnemers tussen die ouderdomme 15–37 jaar is gekies uit persone wat ingeskryf het vir die voorkoming van moeder-na-kind-oordrag (VMNKO) program in Onandjokwe-distrik. Die steekproef het 85% van die teikenpopulasie (N=71) uitgemaak. 'n Gestruktureerde vraelys met geslote en oop vrae is gebruik en deur die navorser voltooi. Etiese goedkeuring vir die studie is verkry van die Etiese Kommitee van die Fakulteit Gesondheidswetenskappe, Universiteit Stellenbosch. Toestemming om die navorsing te doen, is verkry van die Ministerie van Gesondheid en Maatskaplike Dienste, Namibië, en die Onandjokwe Distrikshospitaal. 'n Loodsstudie is onderneem wat 25% van die steekproef behels het. Geldigheid en betroubaarheid is verseker deur die loodsstudie en oorlegpleging met 'n kundige op die gebied van MIV-navorsing en 'n kundige in verpleegnavorsing. Die aanbieding van resultate was meestal deskriptief van aard deur van frekwensietabelle en 'n sektordiagram gebruik te maak. Die resultate het getoon dat MIV-berading en -toetsing gedurende voorgeboortesorg aan alle deelnemers (n=60/100%) aangebied is. Moeders wat MIV-positief is, het geweet dat daar 'n moontlikheid bestaan dat die baba moontlik deur moedersmelk geïnfekteer kan word. Verder het die studie bevind dat 70% (n=42) van deelnemers uitsluitlik borsvoeding gebruik, 20% (n=12) gebruik ’n vervanging vir moedersmelk en 10% (n=6) gebruik gemengde voedingspraktyke. Daar is tot die slotsom gekom dat swanger vroue en moeders van wie bekend is dat hulle MIV-geïnfekteer is, ingelig behoort te word oor die babavoedingspraktyk aanbeveel deur die nasionale of subnasionale owerheid vir die verbetering van MIVvrye oorlewing van babas wat aan die MIV blootgestel is. Dit sluit in inligting oor die risiko’s en voordele van verskeie babavoedingsopsies gebaseer op plaaslike assesserings en leiding ten opsigte van die kies van die geskikste opsie vir hulle eie situasie.

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Wikstrom, Josefine. „Practices of relations in task-dance and the event-score : towards a new concept of performance in art“. Thesis, Kingston University, 2017. http://eprints.kingston.ac.uk/39282/.

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The main aim of theis thesis is to construct a critical concept of performance within a generic concept of art through a two-fold operation. Firstly, it reconstructs the development of a generic concept of performance - distinct from the performing arts - in the period of post-WWII art in North America by focusing on task-dance and the event-score as two emblematic artistic strategies of this period. Task-dance and event-score practices, it argues, had a central role in the practical transformation from a medium-specific to a generic concept of art. Secondly it examines the key philosophical concepts that are inseparable from a generic concept of art, and are necessary for the reconstruction of a generic concept of performance: 'practice', 'labour', 'autonomy', 'abstraction', 'medium', 'mediation', 'subject', 'object', 'structure' and 'abstraction'. The central argument of the thesis is that a critical reconstruction of the concept of performance within the context of post-WWII art must take into account a generic and a autonomous concept of art. The latter refers to a post-medium-specific concept of art, which is still autonomous in Theodor Adorno's understanding of the term: art as derived from, yet distinctively and formally separated from empirical reality. Embedded but formally abstracted from the social relations from which it comes, the category of 'performance', the thesis argues, is a practice of relations. It is a practice in the sensein which Karl Marx formulates practice in his early writings as social and sensuously empirical. It also refers to practice in the sense in which Marx articulates a radically new concept of the subject through this category. The thesis also aims to make a contribution to art theory through its critical methodology. It forces a reconsideration of performance within the framework of 'art in general', and more specifically, it emphasises dance's central role in this history. It employs a number of terms and categories central to task-dance and event-score practices that, it argues, are internal to the generic category performance as it operates within the context of a generic concept of art. The central problem from which this thesis sets out concerns the way in which the dominating concept of performance - derived from cultural theory - is used within art theory. Cutting across disciplines such as Cultural Studies, Performance Studies and Theatre Studies, this conception fails to distinguish between art and culture more generally, and between art and other modes of reality. In short, the thesis confronts a cultural concept of performance - and the related category of performativity - as well as its application to performance practices in art, with a critical one that is reconstructed through a different set of philosophical categories and methods. Chapter 1 argues that the development of a generic concept of art and performance is best described as a shift towards practice, primarily through Marx's account of this. Chapter 2 confronts art-theoretical conceptions of the event-score and task-dance, based in structuralism and pragmatism with Immanuel Kant, and demostrates how John Dewey;s notion of art relies on a conflated notion of Aristotle's practice/poiesis-distinction. Drawing on Husserl's 'phenomenological reduction' and Kant's 'acts of abstraction', Chapter 3 argues that they negation of a medium-specific conception of the object in event-score and task-dance practices constructed a new conception of the art object: the performative structure-object. Chapter 4 considers the role of negation in task-dance, in relation to Adorno's concept of autonomous art and Marx's notion of abstract labour. Chapter 5 demonstrates the way in which the performative-structure object is transcendental and performative, and argues that it must be understood as the practical condition for the generalisation of the category of performance within art.

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Crisp, Jennifer J. „Asset Management in Electricity Transmission Enterprises: Factors that affect Asset Management Policies and Practices of Electricity Transmission Enterprises and their Impact on Performance“. Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15884/1/Jennifer_Crisp_Thesis.pdf.

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This thesis draws on techniques from Management Science and Artificial Intelligence to explore organisational aspects of asset management in electricity transmission enterprises. In this research, factors that influence policies and practices of asset management within electricity transmission enterprises have been identified, in order to examine their interaction and how they impact the policies, practices and performance of transmission businesses. It has been found that, while there is extensive literature on the economics of transmission regulation and pricing, there is little published research linking the engineering and financial aspects of transmission asset management at a management policy level. To remedy this situation, this investigation has drawn on a wide range of literature, together with expert interviews and personal knowledge of the electricity industry, to construct a conceptual model of asset management with broad applicability across transmission enterprises in different parts of the world. A concise representation of the model has been formulated using a Causal Loop Diagram (CLD). To investigate the interactions between factors of influence it is necessary to implement the model and validate it against known outcomes. However, because of the nature of the data (a mix of numeric and non-numeric data, imprecise, incomplete and often approximate) and complexity and imprecision in the definition of relationships between elements, this problem is intractable to modelling by traditional engineering methodologies. The solution has been to utilise techniques from other disciplines. Two implementations have been explored: a multi-level fuzzy rule-based model and a system dynamics model; they offer different but complementary insights into transmission asset management. Each model shows potential for use by transmission businesses for strategic-level decision support. The research demonstrates the key impact of routine maintenance effectiveness on the condition and performance of transmission system assets. However, performance of the transmission network, is not only related to equipment performance, but is a function of system design and operational aspects, such as loading and load factor. Type and supportiveness of regulation, together with the objectives and corporate culture of the transmission organisation also play roles in promoting various strategies for asset management. The cumulative effect of all these drivers is to produce differences in asset management policies and practices, discernable between individual companies and at a regional level, where similar conditions have applied historically and today.

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Crisp, Jennifer J. „Asset Management in Electricity Transmission Enterprises: Factors that affect Asset Management Policies and Practices of Electricity Transmission Enterprises and their Impact on Performance“. Queensland University of Technology, 2004. http://eprints.qut.edu.au/15884/.

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This thesis draws on techniques from Management Science and Artificial Intelligence to explore organisational aspects of asset management in electricity transmission enterprises. In this research, factors that influence policies and practices of asset management within electricity transmission enterprises have been identified, in order to examine their interaction and how they impact the policies, practices and performance of transmission businesses. It has been found that, while there is extensive literature on the economics of transmission regulation and pricing, there is little published research linking the engineering and financial aspects of transmission asset management at a management policy level. To remedy this situation, this investigation has drawn on a wide range of literature, together with expert interviews and personal knowledge of the electricity industry, to construct a conceptual model of asset management with broad applicability across transmission enterprises in different parts of the world. A concise representation of the model has been formulated using a Causal Loop Diagram (CLD). To investigate the interactions between factors of influence it is necessary to implement the model and validate it against known outcomes. However, because of the nature of the data (a mix of numeric and non-numeric data, imprecise, incomplete and often approximate) and complexity and imprecision in the definition of relationships between elements, this problem is intractable to modelling by traditional engineering methodologies. The solution has been to utilise techniques from other disciplines. Two implementations have been explored: a multi-level fuzzy rule-based model and a system dynamics model; they offer different but complementary insights into transmission asset management. Each model shows potential for use by transmission businesses for strategic-level decision support. The research demonstrates the key impact of routine maintenance effectiveness on the condition and performance of transmission system assets. However, performance of the transmission network, is not only related to equipment performance, but is a function of system design and operational aspects, such as loading and load factor. Type and supportiveness of regulation, together with the objectives and corporate culture of the transmission organisation also play roles in promoting various strategies for asset management. The cumulative effect of all these drivers is to produce differences in asset management policies and practices, discernable between individual companies and at a regional level, where similar conditions have applied historically and today.

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Bland, Ruth Margaret. „Infant feeding practices in rural South Africa and recommendations to prevent postnatal transmission of HIV“. Thesis, University of Glasgow, 2006. http://theses.gla.ac.uk/30855/.

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BACKGROUND: Breastfeeding makes a major contribution to child health and is also recognised as a significant factor in child survival. Exclusive breastfeeding (EBF) from 0 to 6 months of age is recommended by the World Health Organization (WHO) as the optimal feeding method for infants, including infants of HIV-infected women from developing countries who, after appropriate counselling, choose to breastfeed. Whilst there is evidence that EBF may be associated with less risk of postnatal HIV transmission than mixed feeding, it is still uncommonly practised for reasons that are poorly understood. Both the patterns and duration of breastfeeding are important determinants of health outcomes. In vertical HIV transmission research, reliable documentation of early breastfeeding practices is important in order to correctly attribute postnatal transmission to feeding patterns. AIMS: The work of this thesis formed the preparatory phase of work for the Wellcome-funded Vertical Transmission Study (VTS) in rural KwaZulu Natal, South Africa. The aim of the VTS was to examine the postnatal transmission risks associated with infant feeding, specifically exclusive breastfeeding. The aim of this thesis was to undertake three specific areas of work to inform the design of the VTS: 1. Breastfeeding practices in the study area. To assess exclusive breastfeeding rates, other infant feeding practices, and impediments to exclusive breastfeeding in a cohort of infants. 2. Use of non-prescribed medications. To describe the variety, and frequency of administration, of non-prescribed medications given to infants in the first three months of life in the study area. 3. Methodology of collection of breastfeeding data. To validate methods of collecting data on the duration of exclusive breastfeeding in the study area. CONCLUSIONS Exclusive breastfeeding is uncommon despite a Baby-friendly Hospital Initiative in the district. Any strategy to promote exclusive breastfeeding should target women antenatally, involve other influential members of the family, provide relevant information about the physiology of breastfeeding and breastmilk production, and support mothers in the important first two weeks post delivery. Non-prescribed medications are given almost universally to young infants, irrespective of socio-economic class. These medications interfere with exclusive breastfeeding, and their effect on postnatal mother-to-child transmission of HIV is not known. Health professionals need to be aware of the extent of, and reasons for, administration of non-prescribed medications to young infants, so that effective health messages can be targeted at mothers and caregivers. The study compared different methods for measuring the recollection of duration of exclusive breastfeeding in the same cohort of women, in which the WHO definitions of early infant feeding were consistently applied. If an infant ever received a fluid or feed other than breastmilk s/he was removed from the EBF category, and was classified as a mixed feeder from that time. This is crucial when documenting breastfeeding patterns in relation to mother-to-child transmission of HIV. In this study, 48 hour exclusive breastfeeding status did not accurately reflect feeding practices since birth. Long term recall data on exclusive breastfeeding were even more inaccurate. Studies examining duration of exclusive breastfeeding, particularly in HIV transmission research, should be collected prospectively at intervals of no longer than a week.

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Chernetich, Gaia Clotilde. „Danse, mémoire, transmission : Le cas de la Pina Bausch Foundation et du Tanztheater Wuppertal Pina Bausch“. Thesis, Université Côte d'Azur (ComUE), 2017. http://www.theses.fr/2017AZUR2006.

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Ma thèse de doctorat porte sur la mémoire et sur les modalités de transmission des connaissances en danse contemporaine. Pour réaliser mon étude, je me suis concentrée sur le cas de la compagnie du Tanztheater Wuppertal Pina Bausch et sur l’héritage artistique de la chorégraphe allemande Pina Bausch (1940-2009). Depuis 2009, une fondation qui porte son nom a été adjointe à l’institution historique de la compagnie de danse qui poursuit à représenter le répertoire Bausch dans le monde entier. La fondation - fondée par le fils de Pina Bausch, Salomon Bausch - a pour objectif la conservation et la diffusion de la connaissance des œuvres artistiques que sa mère a créées tout au long de sa vie : elle détient les archives Bausch, les droits de œuvres et les scénographies et les costumes créés par Rolf Borzik. La réflexion méthodologique est incorporée, à part entière, dans ma thèse. Pour les interviews que j’ai réalisées, j’ai adopté la méthodologie de l’histoire orale. Ma recherche est axée sur quatre domaines principaux qui correspondent à quatre différentes articulations de la mémoire : l’archive, le répertoire, la création et l’exposition. La perspective d’accès choisie pour observer la façon dont les chorégraphies et l’histoire du Tanztheater Wuppertal Pina Bausch sont transmises aux nouvelles générations à l’ère post-Bausch est celle des danseurs italiens qui ont intégré la compagnie entre 1973 et 2009. A ce propos, j’ai réalisé une série d’interviews avec : Beatrice Libonati, Antonio Carallo, Aida Vainieri, Cristiana Morganti, Damiano Ottavio Bigi et Marigia Maggipinto. Le témoignage de chacun des danseurs permet de questionner l’histoire du Tanztheater Wuppertal à partir d’un point de vue interne et donne des informations sur le fonctionnement de la mémoire et de la transmission
My doctoral thesis deals with memory and the transmission of knowledge in contemporary dance. To prepare my study, I concentrated on the case of the dance company Tanztheater Wuppertal Pina Bausch and on the German choreographer Pina Bausch’s the artistic legacy (1940-2009). Since 2009, a foundation named after the choreographer was created alongside the historic dance company which continues to represent the Bausch repertory worldwide. The foundation’s goal - which was founded by Pina Bausch’s son, Salomon Bausch - is to preserve and spread the knowledge of his mother’s artworks which were created all her life long: it owns the Bausch archives, the dance works rights and the scenography and the costumes created by Rolf Borzik.The methodological reflection which support my thesis is fully embodied. For the interviews, I adopted the methodology of oral history. My research is based on four principal domains which correspond to four different articulations of memory: the archives, the repertory, the creation and the exhibition. The perspective I chose to access my object of study and to observe how the choreographies and the history of the Tanztheater Wuppertal Pina Bausch are transmitted to new generations at the post-Bausch era is that of the Italian dancers who integrated the company between 1973 and 2009. For this purpose, I’ve realized a series of interviews with: Beatrice Libonati, Antonio Carallo, Aida Vainieri, Cristiana Morganti, Damiano Ottavio Bigi et Marigia Maggipinto. The witnessing of each one of the dancers allows to question Tanztheater Wuppertal’s history from an internal point of view and it gives information concerning the functioning of memory and transmission

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Holgate, Jane. „Transcultural tango : an ethnographic study of a dance community in the East Midlands“. Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12260.

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This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.

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Beck, Diana C. M. „Tracing the ancestral roots and the flow of pedagogical practices in the development of ballet teaching from 1950 to 2016 in Perth, Western Australia“. Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2042.

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In the history of dance, that of ballet is but a fragment. The art of ballet is affiliated with the arts of music, literature, and those of the visual arts: its international history covering some 500 years. This thesis spotlights Perth, the capital of Western Australia (WA) and one of the world’s most geographically isolated capital cities. Throughout its balletic history of less than a century, Perth has seen rapid growth in this art form. As in all the arts, pedagogic rules act as guidelines for the teaching of traditional ballet vocabulary; consequently, in order to understand this development and its impact on the dance scene, a search has ensued of Perth’s balletic history. The present study adopted a qualitative methodology with an autoethnographical approach to add to the richness of knowledge and experience in the profession of ballet teaching in Perth. This information is a result of the first-hand experiences of 10 ballet teachers from the dance community of this city. The metaphor of a tree was used to organise the chronology of events framed through the efforts of three generations of teachers. The metaphor of water was used to represent the transference of the balletic pedagogy, with art now having the support of science, complemented by a knowledge of anatomy and the physical laws of balance and biomechanics. Reminiscences were elicited through face-to-face interviews that disclosed the views of differing ethnic groups, revealing differing balletic styles experienced by participants who have contributed in many ways to this thesis. The findings reveal that a predominantly English upbringing is shared by several of the first and second generations of teachers who continued the traditions of the English methods of ballet teaching. The arrival of the European contingent, who shared their traditions and expertise with Australians altered the status quo. After the later visits of a new wave of master teachers, mostly of European extraction, a hybrid system of teaching emerged, resulting in a freedom of movement and feeling for space that was not always visible in earlier days. The second generation of teachers were instrumental in seeing the growth of the profession into the modern era of ballet teaching. Observations document the somewhat organic growth of ballet teaching in Perth, enriching the theoretical knowledge of this discipline. The growth of the dance profession is echoed in WA’s cultural and social history. The study highlights the fact that a mature and well-respected profession has been established, signifying a strong future for lovers of classical ballet.

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Whitfield, J. T. „Mortuary practices, genetics and other factors relevant to the transmission of kuru in Papua New Guinea“. Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1318152/.

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The large-scale epidemic of bovine spongiform encephalopathy (BSE) in the United Kingdom (UK) created significant fears of a possible threat to public health. This threat was realized in 1996 when variant Creutzfeldt-Jakob disease (vCJD) was first recognized in the UK and was attributed to the oral transmission of BSE to humans. Although the incidence of vCJD is declining the extremely long incubation periods for which genetic effects are clearly important and the unknown prevalence of pre- or sub-clinically infected individuals remain matters of ongoing concern. Such healthy carriers pose a threat of iatrogenic transmission to others during medical and surgical procedures and there have been four cases of transmission of vCJD via blood transfusion. Before vCJD appeared, kuru and iatrogenic CJD provided our experience of acquired prion diseases caused by human-to-human transmission. Kuru reached epidemic proportions amongst the Fore and surrounding linguistic groups in Papua New Guinea, and was transmitted during endocannibalism (transumption) of dead family members at mortuary feasts, a practice that ended in the late 1950s. Study of kuru therefore became of renewed interest with the arrival of vCJD as it comprises not only the largest example of an epidemic human prion disease, but one that is nearly complete, offering a number of insights into key parameters of potential relevance to public health in the UK and elsewhere. The aim of this study is to explain the historical spread and the changing epidemiological patterns of kuru by analyzing factors that affect the transmission of kuru. Although other possible factors are considered, the analysis principally involves the dominant factors of mortuary practices and human genetics. The main thrust of the thesis is on the ethnographic study of mortuary practices, firstly for its primary data, and secondly for its relevance to the transmission of kuru. Though the genetic results of these studies have proven to be of exceptional interest in understanding genetic susceptibility to and selection pressure imposed by the kuru epidemic and have provided new insights into human history and evolution, they do not explain the spatiotemporal epidemiological changes. The mortuary rites and related behaviours constitute the principal outcomes of this thesis and can now satisfactorily explain the spread and changing epidemiological patterns of kuru.

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Gontovnik, Monica. „Another Way of Being: The Performative Practices of Contemporary Female ColombianArtists“. Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1420473106.

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Kountouriotis, Pavlos. „Techniques of training pain in performance : somatic practices and altered states of consciousness“. Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/techniques-of-training-pain-in-performance(2a27dd8a-e452-4c97-bdd8-4f24f05b39dc).html.

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This practice-as-research project (a) invents, examines and self-reflects upon two techniques - 'Whirling in Pain' and 'Neurobreathing' - that the author has developed for dealing with pain in performance, (b) creates a framework for the qualitative analysis of pain retraining techniques by conducting an interdisciplinary study of the parameters that describe Somatic Practices and the psychology of Altered States of Consciousness, (c) establishes a taxonomy and classifications for describing and assessing techniques of pain management in the performing arts, (d) qualitatively assesses the training techniques of three practitioners —Antonin Artaud, Jerzy Grotowski and Marina Abramović—who have used Somatic Practices and Altered States of Consciousness in their techniques, and draws out patterns and themes in their practice, (e) distils generic principles of practice that are essential for training pain perception and could be used by other practitioners for developing their own techniques, or to better embody the techniques that the author has developed. These transferable principles are: reinforcement, exhaustion of pain-processing resources, inquisitive modes towards otherness, embodied knowledge, surrendering, Sisyphean reiteration, and music’s capacity for fascination. This dissertation considers the issue of dealing with pain in performance beyond the limited area of theatre pedagogy, suggesting an interdisciplinary approach and expanding its scope into the wider realms of theoretical discourse around culture and pain. This dissertation argues that since pain is not only a biochemical process but one that is culturally constructed, it is therefore possible to retrain or un-train the perception of pain through the facility of Somatic Practices that induce Altered States of Consciousness. Such retraining of pain perception has wider socio-political ramifications that challenge the pervading modern and neoliberal culture around pain, which understands it only through a reductively biological model and relies heavily on the use of exogenous analgesics to alleviate pain. Finally, this dissertation proposes that dealing with pain is possible not only by transcending and moving attentional focus away from pain, but also by entering a plane of immanence, achieved through working synergistically with pain in order to find the coping mechanisms and hidden reserves that lie dormant within the individual. The practical element of this submission consists of: (a) a Manual for Practitioners that describes the techniques step-by-step, and explains the principles behind them, and, (b) two performance videos that exhibit how the author has used the two techniques to create and manage pain within performances.

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van, Veen Stephanie Anne Delouw. „Ice dance reacts to the 2002 Olympic judging scandal : a study of skaters' movement practices under the new ISU judging system“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43355.

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After an international judging scandal at the 2002 Salt Lake City Olympics, International Skating Union (ISU) officials introduced an entirely new system for judging figure skating performances. With the goal of increasing the objectivity and transparency in the judging process substantive changes occurred in the performance requirements and evaluation criteria for all skaters. Focusing on the ice dance discipline, the purpose of this research was to analyze ice dancers’ movement practices and the ways in which they have been influenced by the new judging system. Additional analysis also considered the role of gender in ice dancers’ potentially changed practices. With these goals in mind, I draw upon Massus’s (1973) notion around ‘techniques of the body’ and Bourdieu’s (1992) concept of ‘habitus’, which suggest that by looking at the movement practices of ice dancers we can see how they are influenced by the social relations in which they are embedded, including historical and cultural traditions, and by authoritative groups such as the ISU. Considering the role of gender in ice dancers’ movement practices, I also examine the social construction of masculinity and femininity in skaters’ movements and how these embodied gendered practices are influenced by the new judging system. Furthermore, using Foucauldian theories of power, normalization, rank, and self-regulation I explore how ice dancers are disciplined into performing particular movement practices, performance narratives and skating styles and the ways in which they are reinforced. Data collection included a documentary analysis of the ISU judging system focusing on the technical rules in regard to the ice dance discipline as well as semi-structured interviews with figure skating experts and skaters themselves. Interviews with the skaters also included a video analysis component on one of their competitive performances. The findings revealed the dramatic changes in ice dancers’ movement practices under the new judging system and how these changed practices have contributed to a more athletic discipline where there is now a strong focus on technical requirements. Additionally, the findings highlighted the conservative and stereotypical displays of gender in skaters’ movement practices and performance narratives, which continue to prevail under the new judging system.

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Kemple, Reeves Ana E. „The Intergenerational Transmission of Parental Practices That Influence the Educational Outcome of Latinxs in the United States“. DigitalCommons@USU, 2018. https://digitalcommons.usu.edu/etd/7380.

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Parental involvement practices in education have traditionally referred to overt forms of involvement such as attending school meetings, parent teacher conferences, and volunteering at the school. Research suggests that Latinx parents do not utilize these approaches as much as they do subtler practices. These practices are manifested in parents’ communication with their children, their parenting styles, and the academic expectations they place on their children. The current study intended to recognize the parental practices used by Latinx parents that contribute to educational attainment and combat fixed beliefs regarding their lack of involvement in their children’s education. The data collection was completed via Qualtrics panel and funded by the CEHS Graduate Student Research Award grant. The final sample consisted of 252 Latinx parents (age 18 or older) nationwide who had a child or children in kindergarten through sixth grades. Respondents reported being more involved in their children’s education than their parents. Each parenting variable was significantly associated with respondents’ academic outcomes with the exception of parental pressure. Results suggest intergenerational transmission of parenting practices regardless of acculturation level and support for a nuanced examination of predictors of academic achievement for Latinxs. Results also reflect vi Latinx parents’ involvement in their children’s education in meaningful ways. Parents’ level of acculturation played a role in the relationship between their self-reports and what they recalled about how they were parented. Specifically, the relationship between self-report and retrospective report of authoritarian parenting and parental pressure was strongest for respondents at the highest levels of Latinx acculturation and lowest at the lowest levels of Latinx acculturation. Overall, Latinx respondents appear to be following their parents’ parenting practices regardless of their level of acculturation, and these practices predict Latinxs’ educational attainment. Understanding how Latinx parents involve themselves in their children’s education debunks the myth that they are not involved and opens pathways to collaboration and support between these parents and the U.S. education system

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Culbreth, Mair Wendelin. „Transactional Bodies: Politics, Pedagogies, and Performance Practices of the San Francisco Bay Area“. The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1514625617942998.

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Arizaga, Mara Lisa. „Can we say prayers in our own language? The Transmission of Tibetan Bon Religious Practices to the West“. Thesis, Paris Sciences et Lettres (ComUE), 2019. http://www.theses.fr/2019PSLEP039.

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Cette thèse a pour but de réaliser un examen approfondi de la religion Yungdrung Bon (ci-après dénommée "Bon") à la lumière de la globalisation. Elle explore les dynamiques en cours dans la transmission et la réception du Bon en Occident, en offrant un nouveau point de vue sur l'expansion des traditions religieuses tibétaines en Occident, ainsi qu’un panorama de l'histoire moderne du Bon. Afin de mieux appréhender la spécificité du Bon contemporain en Occident, il faut d'abord prendre du recul et examiner l'histoire de l'expansion de Bon en l'Occident, ainsi que le contexte dans lequel cette propagation s'est produite. Pour cela, la thèse retracera le processus par lequel Bon s'est globalisé en examinant sa transmission dans les sociétés occidentales, les principaux acteurs qui ont facilité cette transmission, et la manière dont les Occidentaux eux-mêmes le reçoivent et l'adaptent. De nombreuses informations ont été recueillies lors d'entretiens, qui ont ensuite été analysés de manière qualitative par le biais d’une méthode de théorisation ancrée afin d’en tirer les thèmes principaux. La recherche a porté en particulier sur Shenten Dargye Ling, le principal centre Bon en Occident, situé à Blou, en France, où l'on peut régulièrement observer par quelles manières le "Bon moderne" s’adapte à la fois à des adeptes définissant le Bon comme une tradition "scientifique" et "non-spirituelle" et à des dévots ne négligeant pas nécessairement les pratiques magiques, rituelles et dévotionnelles en tant que "bagage culturel", preuves que les significations des symboles, des pratiques et des interprétations religieuses ne sont pas rigides, mais fluides et multiples. Shenten est analysé non seulement comme un espace déterritorialisé, mais aussi comme un lieu tibétain/occidental reterritorialisé, dans lequel le Bon est implanté dans un nouveau milieu géographique, social et culturel, suivant un processus de transplantation qui entraîne des adaptations et des transformations multiples, certains éléments comme la pratique Dzogchen ou la méditation étant mieux retenus que d'autres. Le Bon, dans sa dimension globale, opère dans un contexte où les forces qui créent des changements dans la tradition coexistent avec d'autres forces qui permettent la préservation de la tradition, parfois en tension, parfois en parallèle. Cette thèse explore donc les processus d'expansion, d'adaptation et d'intégration d'une religion particulière comme conséquence de et en relation avec la mondialisation
This thesis aims to provide an in-depth examination of the Yungdrung Bon religion (hereinafter referred to as “Bon”) in light of globalization. It seeks to explore the dynamics taking place in the transmission and reception of Yungdrung Bon in the West, providing a new viewpoint on the expansion of Tibetan religious traditions into the West and a comprehensive picture of the modern history of the Yungdrung Bon religion. Addressing the specificity of contemporary Bon in the West requires first taking a step back and looking at the history of Bon’s expansion into the West as well as the context within which this propagation occurred. Thus, the thesis will trace the process by which Bon became global by looking in chronological terms at the transmission of Bon into Western societies, the main characters who facilitated this transmission, and how Westerners themselves are receiving and adapting Bon. Significant data was gathered through interviews, which where then analysed using a qualitative grounded theory methodology to distill main themes. The research focused particularly on Shenten Dargye Ling, the main Yungdrung Bon center in the West located in Blou, France, where one can witness regularly how “modern Bon” accommodates followers who define Bon as a “scientific” and “nonritualistic” tradition as well as devotional practitioners, who do not necessarily disregard magical, ritualistic and devotional practices as “cultural baggage,” indicating that the meanings of religious symbols, practices and interpretations of these are not rigid but fluid and multifaceted. Shenten is analyzed not only as a deterritorialized space, but also a reterritorialized Tibetan/Western place, where Bon is being implanted in a new geographical, social, and cultural milieu, in a transplantation process that results in adaptations and multidirectional transformations, where certain elements—such as Dzogchen practice and meditation—are better retained than others. Bon, in its global dimension, operates in a context where forces that are creating changes in the tradition coexist with other forces that are enabling the preservation of the tradition, sometimes in tension and sometimes in parallel. Therefore, this thesis explores the expansion, adaptation, and integration processes of a particular religion as a consequence of and in relation to globalization

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Tabane, Elizabeth Mamatle. „The influence of cultural practices of Batswana people in relation to the transmission of HIV/AIDS in Botswana“. Thesis, Pretoria : [s.n.], 2003. http://upetd.up.ac.za/thesis/available/etd-09282004-103250.

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Du, Preez Antoinette. „Intrapartumpraktykgebruike om vertikale oordrag van MIV te beperk / Antoinette du Preez“. Thesis, North-West University, 2004. http://hdl.handle.net/10394/407.

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An emergency reaction is required in Africa because HIVIAIDS is a reality which may be regarded as a developing crisis and a catastrophe. Approximately a third of all women in the North-West Province are HIV positive. Because of their vulnerability against HIVIAIDS there arose a need for health service provision to the HIV positive woman to focus specifically on the reduction of the transmission of HIVIAIDS from mother to child. Mother to child transmission is the biggest cause of HIV infection among children. Almost all HIV positive children are infected during pregnancy, labour, childbirth or breastfeeding. Without the necessary preventative measures as many as 25-35% of the children of HIV positive mothers may be infected. The biggest percentage of infections, however, takes place during labour and the birth process. In first world countries the mother has access to choices and facilities to make an informed decision about antiretroviral therapy, as well as the method of birth. In the North-West Province not all these options and facilities are available, and therefore the knowledge and skills of midwives must be deployed to reduce vertical transmission of HIV during the intrapartum practice. It is important that midwives have the necessary knowledge about intrapartum practices and vertical transmission of HIV, in order to distinguish between risky and safe intrapartum practices. The purpose of this research was to determine whether midwives in the Southern region of the North-West Province have sufficient knowledge of intrapartum practices to reduce vertical transmission of HIV, as well as to determine the intrapartum practices in the Southern region of the North-West Province. The ultimate goals, then, were to determine how the national policy should be adapted and implemented in the Southern region of the North-West Province to reduce HIV transmission during intrapartum practices. A quantitive survey design was used. For the data collection a questionnaire and a control list were used. The questionnaire and the control list, which are adapted and based on literature, were submitted to research and subject specialists, after which they were adapted. Permission was obtained for this research from the Department of Health in the North-West Province, the ethics committee of the PU for CHE as well as each provincial hospital in the Southern region in the North-West Province to conduct the research. A purposeful availability sample of midwives working in the Southern region of the North-West Province was used and a random sample was used for auditing the obstetric records. A total of 31 midwives participated as respondents, and 401 obstetrical records were audited. Data analysis was performed by means of a frequency analysis, effect sizes and cross reference. Based on these findings it was concluded that the midwives do have basic knowledge regarding vertical transmission of HIV, but that this knowledge is not reflected in the intrapartum practice. There is uncertainty about certain aspects where the latest research about intrapartum practices are not implemented in practice. Recommendations were accordingly formulated for nursing education, research and practice. This research particularly focused on improving midwives' knowledge about intrapartum practices to reduce the vertical transmission of HIV, so that this knowledge may result in improved intrapartum practice. Recommendations are also made as to how the national policy may be adapted and implemented in the Southern region of the North-West Province.
Thesis (M.Cur.)--North-West University, Potchefstroom Campus, 2004.

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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.

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de, la Gándara Christie. „Cultivating Habits of Faith: The Power of Latina Stories and Practices to Educate U.S. Catholics in the Faith“. Thesis, Boston College, 2021. http://hdl.handle.net/2345/bc-ir:109134.

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Thesis advisor: Hosffman Ospino
The Catholic Church’s formal documents throughout the centuries have celebrated and affirmed the role of parents educating their children on faith matters in the context of the home. Nevertheless, the Church offers parents very little practical guidance as to how they can make their home a domestic church or what they can do to organically and consistently incorporate the faith into daily life. As the Church analyzes why presently 6 Catholics are disaffiliating for every new member that joins, it must reconsider the lack of attention the home has received as an authoritative space for religious transmission. The home, as a sacramental space, has the potential to call attention to the divinity that surrounds us and invites us to action and awakening. It is also the haven where we nurture our most important and loving relationships that initiate us into the faith. The home is also a space for negotiation, that is, where we learn to wrestle with mystery and ambiguity. Critical dialogues within the home are imperative to engaging the present world from a Catholic perspective. This dissertation conducted an ethnographic study of a group of Miami-based Cuban American Catholic women across two generations. The women were chosen based on their active involvement within the Catholic Church. The study found that 100% of the women were successful in transmitting their Catholic faith to their daughters due to four socialization practices. Faith modeling by extended kin, engagement in social justice vocations across the community, explicitly affirming the personalization of daily rituals such as prayer, and finally, ongoing intergenerational dialogues were found in the stories of all the women participants. Religious imagination is the glue that holds all of the moving pieces (home, women and socializing praxis) in this dissertation. I provide herein a midrash of Matthew 27:57-61 to illustrate how the physical and relational components of the Cuban-American home serve to negotiate a hermeneutic that is matriarchal, bottom-up, and interdisciplinary. The hermeneutic echoes the message of the women studied herein; namely, that a community working together in the midst of dislocation is already being liberated. Noting the psycho-social importance of a cohesive narrative identity and its impact on authentic faith transmission calls into question whether the pedestrian nature of the home has led to mistaken notions of this pedagogy being too simplistic. Nevertheless, in telling stories and (de/re)constructing life narratives, individuals are placed within the larger scheme of history, redemptive sequences are analyzed and building resilience, and the stories themselves become a safe space from which to discern larger questions. This dissertation proposes communal, home-based activities as an effective method for faith transmission as it fosters the necessary intimacy to share relevant and passionate stories that powerfully answer why being Catholic truly matters now and to our next generation
Thesis (PhD) — Boston College, 2021
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Religious Education and Pastoral Ministry

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Coaten, Richard B. „Building bridges of understanding : the use of embodied practices with older people with dementia and their care staff as mediated by dance movement psychotherapy“. Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/building-bridges-of-understanding(ad4cba0b-3c99-413f-94cc-a84af28cdfd6).html.

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Wein, Thomas. „The transmission and replication of security practices in development research: A case study of the Busara Center for Behavioral Economics“. Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21343.

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This project investigates how the everyday practices and supporting narratives surrounding personal security for development researchers in Nairobi, Kenya, are communicated, transmitted and replicated among the community of practice. Everyday practices affect development, but are understudied. A Communication for Development approach show us how these practices are communicated, transmitted and replicated.It does so through a case study of one organisation, the Busara Center for Behavioral Economics. 8 interviews have been conducted with Busara staff.The most prominent personal security practices concern transportation and observed security measures at malls and compounds. At work, the main security practices are seeking expertise, community engagement, election-related office closures and improvisation in the field. The most important narratives informing these practices are Kenyanness and local rootedness, the need to balance effectiveness against duty of care, and a lack of information. There is strong variation in all this, evident between Kenyans and expatriates, by gender, and over time.The means of transmission for these narratives and practices have evolved over time in Busara. They presently include formal methods such as update emails and a WhatsApp group, while briefings are rarer. Unofficial means of transmission include conversations with peers, personal experiences, and broadcast and written media.Security practices and narratives are more varied, and the means of transmission more informal, than is commonly understood. Dominant narratives of insecurity and technical best practice are certainly important – but organisations are aware of these, and may deliberately deploy other counter-narratives. Above all, the means of transmission matter, and practices, narratives and means of transmission are intertwined and mutually supporting.

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Ellis, Neville John. „Teachers’ experiences as practitioner researchers in secondary schools: A comparative study of Singapore and NSW“. Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/8609.

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The aim of this study was to illuminate teachers’ experiences as practitioner researchers in secondary schools in NSW and Singapore to explore to what extent their experiences are similar or different and how context - such as differences in culture or policy – are factors in shaping teachers’ experiences. Practitioner research is undertaken in-situ and thus will look very different under different educational regimes. As Schatzki (2005) and later Kemmis and Grootenboer (2008) remind us the “sayings” and “doings” of practitioner research are all mediated by the historical circumstances that underpin them. Adopting the philosophies of Schatzki and Freire, this thesis explores what teachers think and feel about doing practitioner research; their understanding of policy; their motivation for doing research; the types of research they do; the type of learning and support they receive; the difficulties they face; and whether they find the experience beneficial or not. This interpretive case study offers perspectives from two different academic and educational communities and involved 42 participants, including academics, policy makers and teachers. Teachers have considerable agency to shape practices and change their immediate classroom practice but function in a world that is largely pre-formed, meta-practices acting to prefigure, enable or constrain practices (Kemmis, 2009; Kemmis & Grootenboer, 2008; Schatzki, 2002, 2010). The thesis argues that sufficient differences existed between the two sites explored so that practitioner research was prefigured and remodelled distinctively in each context. Definitions and understandings of practitioner research varied greatly between respondents within each culture. These definitions and understandings in turn were often inconsistent with extant definitions in the literature, thereby provoking questions about the distinction between professional learning and research. Respondents often did not have sufficient common background knowledge to be able to agree about what practitioner research was in words (Kemmis & Grootenboer, 2008, p.53). Their “sayings” and “doings” and the way they related to one another were not “bundled” together in a characteristic way (Schatzki, 2002) nor were they “mutually intelligible” (2006, p.1868). Practitioner research occurred across and within the two settings as a series of disparate practices, the two educational bureaus, sometimes even different regions or schools, adopting different research paradigms, assumptions and orientations. Accordingly, practitioner research was innate to the setting in which it was practised. But as a broad generalisation, in Singapore, research was often used in schools to confirm the effectiveness of an intervention rather than to explore an issue (Tan, Macdonald & Rossi, 2009) and there was a tendency to favour a scientific or quasi-experimental research design and quantitative data. Interventionist studies were often undertaken “to see if a hypothesis works”. In comparison, in NSW, respondents believed that schools and teachers generally use research to modify and improve local conditions, teachers showing a predilection for qualitative methodologies despite the pressure for them to use quantitative data. Research tended to be used to spawn or produce change rather than to measure it. In summary, in Singapore research was used to measure an innovation and in NSW to generate innovation, teachers in Singapore thereby favouring a “deductive theory” model as described by Ezzy (2002) and in NSW, an “inductive theory building” approach. The central education authorities had developed different policies and programmes to encourage practitioner research in schools and practitioner research was transmitted as a practice in a variety of ways. Identity and disposition greatly shaped teachers’ attitudes towards practitioner research acting as either a powerful enabler or constraint. Although teacher capacity was commonly perceived as a significant enabling factor, there was not a homogenous, systematic or comprehensive means for training staff across either teaching force. It has been asserted that practitioner research is not just a matter of instrumental behaviour and following rules but should be a consultative process where proponents proceed towards consensus about what to do (Kemmis, 2010). However, adopting a critical Freirian perspective (1974, 1985, 1987), it could be argued that in many instances teachers were “silenced” and not “given voice” in that they had limited facility to decide the research focus, especially in Singapore, or limited opportunities to broadcast findings, particularly in NSW. Furthermore, we are reminded that practitioner research should not merely generate knowledge of the world but aim to effect social change and good so as to achieve a better, more just world (Freire, 1974, 1985, 1998; Kemmis, 2010). As might be expected, the teachers involved in this study, displayed an awareness of the larger world in which they function as teachers; the mesh of practices or meta-practices that enables and constrains possibilities for action in education. However, often they stated or implied they were perhaps powerless to effect change at this meta-level. It would appear that many teachers had adopted a “fatalistic” approach. Respondents citing the need for systemic change appeared to stop at this point and did not contemplate “the untested feasibility, the constructable future” (Friere, 1985, p.154) or embark on “praxis” as described by either Freire (1974, 1985, 1998), Kemmis and Grootenboer (2008), or Kemmis and Smith (2008). Results of the study indicated that teachers tend to lock themselves into the technical aspects and an instrumental approach to research, which is viable in its own right, but limited. They were not so much interested in the kind of interpretive, hermeneutic knowledge interest, where one is trying to actually understand the phenomenon that is being explored, or an emancipatory or liberatory knowledge interest. The type of practitioner research largely undertaken by teachers as described by participants tended to focus on a teacher’s immediate class or school. It appeared that teachers had become sensitised to their local situations, able to look only at their local environment, but perhaps not able to look at macro issues. Or perhaps they had not contemplated with any rigour or determination the meta-practices that enmesh their own practices. Essentially, there is an order of actions, intentions and “acceptable ends” within any practice (Schatzki, 2009, p.39). This thesis argues that the “ends” that are acceptable to teachers, such as technical improvement in classroom practice, are perhaps deficient for Kemmis or Freire, who desire social justice and an emancipatory outcome. The thesis concludes by noting that the potential of practitioner research remains to be fully actualized. Recommendations suggest that: policy on practitioner research needs to be more clearly and coherently communicated across the teaching spectrum with models of research being more explicitly stated; teachers should also be provided with more comprehensive and systematic training in practitioner research; and greater emphasis should be put on the bridging of cultures and traditions to foster an enhanced interchange of ideas, insights, understandings and dialogue among all involved in practitioner research. Perhaps, then practitioner research may become successfully embedded into the culture of education process and practice and support educational transformation in both Singapore and NSW.

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Cazemajou, Anne. „Le travail de yoga en cours de danse contemporaine. Analyse anthropologique de l'expérience corporelle“. Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2010. http://tel.archives-ouvertes.fr/tel-00632348.

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Cette recherche s'intéresse au travail de yoga, tel qu'il est enseigné à des adultes amateurs dans le cadre de l'enseignement de la danse contemporaine de Toni D'Amelio, à l'école Peter Goss (Paris 10e). C'est la nature de l'expérience corporelle vécue par les élèves ainsi que les modalités de sa construction qui font l'objet de cette analyse. Ancrée dans une approche anthropologique, elle se caractérise par l'utilisation de la technique de l'entretien d'explicitation - méthodologie inédite dans la recherche en danse - pour interroger l'expérience subjective des acteurs.Les propos des élèves ont fait émerger le rôle central des consignes, ainsi que la manière dont ce travail de yoga s'articule autour d'un " dispositif savant ", qui cristallise pour les élèves l'idée d'un savoir adéquat. Or, ce dispositif s'est avéré insuffisant pour expliquer la nature de l'expérience corporelle qu'il produit. L'étude met ainsi en évidence la manière dont ce dispositif est concrètement mis en œuvre et dont les consignes fonctionnent, dans la pratique, comme " embrayeurs d'action et de perception ". Enfin, l'analyse montre comment la parole de l'enseignante, à l'insu pour ainsi dire des élèves et d'elle-même, crée un véritable enchantement du dispositif.

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Li, Meng. „An investigation of home cooking practices to deal with food-related anxieties in China : issues of embodiment and intergenerational transmission“. Thesis, University of Nottingham, 2017. http://eprints.nottingham.ac.uk/40282/.

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In recent decades, many Chinese have experienced changes in their eating as a result of a shift from food shortages to an expansion of food markets. Many urban Chinese make choices from a variety of food, and food safety incidents frequently reported in the media have raised consumer concerns with food quality and the potential effects of foods on human health. Meanwhile, some urban dwellers worry about overweight, hypertension, cardiovascular diseases, and other health threats as a result of, for example, diets that are high in fats and sugar. Some studies have examined how consumers respond to food-related anxieties in China. These studies have suggested that they may change their eating or shopping patterns and rely on external indicators such as, brands and vendor types. A number of these studies are based on quantitative calculations of patterns of participants’ behaviours or perceptions. However, they pay little attention to how ordinary people experience and deal with food-related anxieties. Moreover, individuals seem to be passive and dependent on institutional efforts to control food-related anxieties. With the use of interview and participant observation data, this research analyses how participants deal with the food-related anxieties they experience in everyday life through their daily food and eating practices. The research demonstrates participants’ activity to deal with their food safety and health concerns in light of Mauss’s (1973) concept of ‘body techniques’, and de Certeau’s (1984) discussion of ‘strategies’ and ‘tactics’. By drawing on Mauss’s (1973) concept, the study offers an understanding of food-related anxieties and the practice of home cooking to deal with those anxieties through the perspective of embodiment. My research also challenges the existing literature which suggests ordinary people are passive and subject to institutional strategies to deal with food-related anxieties. With reference to Mauss (1973) and de Certeau (1984), participants have agency to respond to food safety and health concerns according to their acquired eating habits and the social circumstances to which they belong. The findings suggest that participants tactically use embodied knowledge and techniques of home cooking transmitted across generations to deal with food safety and health concerns in contemporary China.

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Le, Grandic Marie. „Histoires de familles et de transmissions : une sociologie des pratiques festives“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA158.

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Cette étude interroge les fonctions sociales et anthropologiques des fêtes familiales par l’analyse en particulier de sa fonction de transmission. L’étude de ces fêtes contribue à la recherche de la complexité des liens sociaux. Elle montre en effet que ces espaces sont ambivalents par l’aspect intégrateur et excluant de la fête. En présentant les différents éléments matériels et immatériels transmissibles, elle explore la variété de ces processus. La fête socialisée et socialisante, engendre un apprentissage par inculcation et par imprégnation. La relation éducative semble favorisée par l’ambiance particulière de ces festivités qui rapproche les corps et autorise un relâchement. Cette proximité rend les participants plus attentifs à l’autre et plus enclin à une réciprocité relationnelle. Autour de la table, les membres de la famille négocient la mémoire familiale par le partage d’expériences communes et par la narration d’anciens souvenirs, notamment des fêtes passées ou à venir. Entre pudeur et exaltation, ces groupes constituent des entre-soi signifiants pour la construction de ceux-ci, mais aussi pour l’individu et son rapport à l’altérité. Dans cette chorégraphie bien réglée, les différentes phases de la fête ménagent des espaces de rencontres pour une mise en dialogue ouvrant la possibilité à l’individu de narrer son histoire et de penser son identité plurielle. D’un point de vue méthodologique, cette analyse qualitative de pratiques festives dans un cadre familial se révèle être proche d’une méthode ethnographique, associant une observation participante et une récolte de diverses paroles. Impliquant son propre sujet, l’enquêteur propose un questionnement autour de la proximité entre le chercheur et son terrain
This thesis looks at the social and anthropological functions of family celebrations, and focuses in particular on transmission. The study of these festive gatherings contributes to an exploration of the complexity of social ties. It shows that these spaces are ambivalent, as they both integrate and exclude from festivities. The material and immaterial elements that can be passed down are introduced in all their variety. Festive practices socialise while also being a social product themselves, and create learning opportunities through processes of inculcation and impregnation. The educational relationship seems heightened by the particular atmosphere of these celebrations, which bring people physically closer and allows the relaxing of rules and habits. Through this proximity, participants become more attentive to each other, and more inclined to reciprocity in their relationships. Around the table, relatives negotiate the family memory by sharing their experiences and through the narration of old memories, especially past or future celebrations. Between reserve and elation, these groups thus create a sense of community that is significant both for the group’s evolution and for the individual, and his or her attitude towards others. Along the way, the different phases of festivities create space for encounters and dialogue, which allow individuals to tell their story and process their plural identity. From a methodological perspective, this qualitative analysis of festive practices within the framework of the family draws on an ethnographic approach, and combines participant observation with the gathering of multiple voices. Through her own involvement, the writer questions the proximity between the researcher and the field studied

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Mason, Hannah. „A Return to the Body: Individual Wholeness and Community Harmony“. Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/175.

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The return to body awareness, or embodiment, is necessary for individual and communal harmony. A reflection on the use of dance in tribal societies suggests their importance in creating community and identifies how they were prohibited during colonization and thereafter. Subsequently, an investigation into current American culture in the 21st century finds a disembodied culture, as defined by the lack of awareness to the body as a living entity. Embodiment practices are suggested for a return to individual harmony and communal dancing as the solution for community harmony. Lastly, a personal exploration into the making and creating of danced rituals suggests the power of dance to heal, transform, and unite humanity.

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