Dissertations / Theses on the topic 'Dance disciplines'

The purpose of this study was to evaluate TAGteach as a training procedure to increase the fluency of three dance movements in a multiple baseline across behaviors design with 4 students of dance. Target behaviors included a pirouette/turn, kick, and a leap/jump, respective of the level of the class. A dance instructor was trained to implement the TAGteach procedure by the primary researcher. The targeted dance movements remained at a stable level during baseline and improved sequentially for each participant following the introduction of the TAGteach training. Implications for future research are discussed.

Research incorporating behavior analysis to improve sports performance has shown that various feedback types (e.g., video feedback, public posting) can increase skills. Recently, auditory feedback has been shown to be effective. The purpose of this study was to evaluate the utility of auditory feedback to improve dance movements of children with disabilities using an ABAB design embedded in a multiple baseline across participants design. The target behaviors were fundamental dance skills, individualized to each student, and scored using a task analysis to calculate the percentage of correct steps. The results showed that auditory feedback was valuable in increasing the specific dance skill for each student. Although the skills decreased during the second baseline phase, the skills increased to their respective levels following treatment withdrawal.

This arts-based intervention program was designed to reduce anxiety and aggressive behavior in adolescent girls who were being reared without their fathers during the period of 2010–2015. The research questions were designed to investigate the scope, frequency, and severity of the problem of increased aggressive behavior and anxiety by girls being reared without their fathers; to evaluate the effectiveness of an arts-based intervention in reducing aggressive behavior and anxiety in girls being reared without their fathers; to investigate the ways that the use of an arts-based intervention might improve feelings about family relationships for single mothers and girls being reared without their fathers; and to gather observations and perceptions of all participants of the arts-based intervention regarding its impact on aggressive girls being reared without their fathers. Eight children between the ages of 8 and 17 completed the study. Data collection consisted of administering the following surveys: the Adolescent Anger Rating Scale, the Children’s Aggression Scale, the Parent Adolescent Relationship Questionnaire, and a confirmation interview with parents. An anger-management intervention utilizing the arts as an outlet for self-expression was implemented during the winter 2013 semester. Results showed the implementation fostered peer collaboration and resulted in reduced anger and aggression as well as increased communication and family cohesion. Expression through the arts, coupled with anger-management training, enabled girls to cope with their anger rather than acting out.

Notre recherche tente de comprendre comment, dans le cadre de leur polyvalence, les professeurs des écoles s'y prennent pour enseigner une discipline qu'ils ne maîtrisent pas. Pour réaliser notre investigation sur le terrain, nous avons analysé l'enseignement de la danse à l'école primaire aux confins de l'Education physique et sportive et de l'Education artistique. Comment et à partir de quels savoirs de l'enseignant, les professeurs des Ecoles transforment-ils une discipline en contenu d'enseignement ? Comment décident-ils de ce qui est à enseigner ? Comment se le représentent-ils et le représentent-ils à leurs élèves ? Quelles sont les sources du savoir professoral ? Notre recherche s'ancre dans un système d'actions en référence à celui de Vermesch qui place l'action vécue au centre d'un système d'informations. Ce sont les savoirs institutionnels, pédagogiques et didactiques et les intentions qui font l'objet de nos interrogations. Le travail des enseignants sera alors observé au regard des travaux de la psychologie du travail (Clot) et de l'analyse des gestes professionnels enseignants (Bucheton). D'un point de vue méthodologique, une étude quantitative nous a permis de découvrir des relations entre les pratiques sportives, artistiques et culturelles des professeurs des Ecoles et leur positionnement par rapport à l'enseignement de la danse et une analyse qualitative de l'activité de trois enseignants en position d'enseignement de la danse nous à amener à distinguer des typologies. L'articulation des deux systèmes produits nous a permis de proposer un modèle permettant l'étude des implications de la socialisation culturelle primaire sur les démarches d'enseignement.

Quels sont les enjeux de la « danse à l'école », comme processus de transmission et de création artistique? Nous délimitons ce que l'on nomme communément la « danse à l'école ». Contrairement aux autres domaines d'enseignement, elle ne bénéficie pas d'une place importante dans les programmes scolaires. Nous en cherchons les causes, en interrogeant les concepts qui la génèrent. L'un, fondateur, concerne l'idiotie corporelle et le mouvement dansé. Le second entretient une dialectique forte avec l'école et correspond à l'art, comprenant à la fois le rapport culturel aux œuvres et le processus artistique de création. Ceux-ci nous conduiront à quitter ce mot valise « danse à l'école» pour élaborer le concept d'éducation chorégraphique, configuration spécifique, qui se bâtit par un processus identique aux « mondes de l'art» analysé par Becker dans un contexte favorisant « la dynamique des relations interindividuelles et ses dimensions matérielles et cognitives», permettant ainsi que « l'identité sociale de ceux qui prennent part à la production et à la consommation artistique soit spécifiée par la nature de leur engagement dans le réseau de coopération et de leur contribution à l'activité collective qui fait l'œuvre d'art. » Cette inscription de l'art chorégraphique en milieu scolaire, dans un contexte spécifique, d'interactions socio-cognitives et inter-individuelles donne à chaque acteur (élève, enseignant, artiste, médiateur culturel, formateur, institutionnel) la possibilité de se saisir du nœud de la différence et de l'identité proposé par Hacking, lié à la prise en compte des mondes pluriels entrant à l'Ecole, selon les analyses de Derouet et Boltanski. Ce concept émergera d'une configuration départementale de l'Ille et Vilaine, tel que l'élabore Elias, permettant de relativiser notre propos aux caractéristiques spécifiques de notre terrain de recherchi et permettant de mettre en évidence la construction identitaire des acteurs dans un cadre interactionnel
What are the stakes for "danse à l'école". There are two keys elements: 1. Transmitting the message and 2. Artistic development at school. To define what is more commonly named "dance at school" taking into account, unlike other teaching professions, it does not have the same advantage of an important place in the school programme. We are looking for the reasons, investigating the concepts behind it. One of the founders, looks at the corporal differences from one person to another and the dance movement. The second, is to have a strong argument to bring to the school so as they can agree to the art, taking into consideration at the same time the cultural relations to work and the process of artistic expression. Those who push us to move away from this expression "danse à l'école" and to develop the education al concept of choreography, a specific outline which builds an identical process to "the worlds of art" analysed by Becker in an encouraging context "the dynamics of inter-individual relations and his equipment dimensions and cognitive( knowledge construction) as weil as is "social identity of those who take part in production and artistic consummation whatever is specified by nature of their involvement in the co-operation network and their contribution to the collective activity which makes it a work of art". This interpretation of choreography in a school environment in a particular context of social therapeutic interaction and inter-individuals gives each player ( student, teacher, artist, cultural mediator, trainer and institutes) the possibility to seize the opportunity of difference and the identity proposed by Hacking, linked to the plural worlds inside the school system, according to the analysis of Derouet and Boltanski. This concept will emerge from a departmental outline from Ille et Vilaine, such as Elias, who allows you to relativise our grounds for research and also to display the development of the players identities in an interactive framework

Considerando que expressividade é uma forma significativa de comunicação corporal, que busca através da Dança a harmonia das formas biológica, cultural e filosófica do ser humano, este estudo objetiva descrever e compreender a percepção dos acadêmicos de Educação Física que cursam a disciplina de Metodologia do Ensino da Dança Escolar sobre sua expressividade. Inicialmente são apresentados conceitos, classificações, bem como os níveis de complexidade da expressividade. Na seqüência faz-se uma interação entre Expressividade, Educação Física e Dança, ressaltando a importância do ato criativo da expressividade dentro do contexto de ensino. Participaram do estudo 16 acadêmicos do curso de Educação Física da Universidade Regional Integrada do Alto Uruguai e das Missões (URI) Campus de Erechim, que cursavam a disciplina de Metodologia do Ensino da Dança Escolar. Os instrumentos utilizados na pesquisa foram entrevistas semi-estruturadas (inicial e final) e notas de campo. O período de coleta de dados aconteceu de 02 de abril de 2008 a 28 de maio de 2008 na Sala de Dança e no Auditório Central da URI. As informações obtidas foram agrupadas em unidades de significado, que reescritas, originaram categorias de análise. Os resultados mostram uma significativa evolução em relação às definições de expressividade, evidenciando a linguagem do corpo em sua sensibilidade, bem como a constatação de como é possível criar e também incentivar a criação de novos movimentos, derrubando barreiras sociais com a Dança inserida no contexto da Educação Física.
If we consider that expressivity is one significative way of corporal communication, which searches through Dance the harmony of the biological, cultural and philosophical forms of human being, so this study desires to describe and to understand the perception of Physical Education undergraduate students who attend classes of Methodology of School Dance Teaching about their expressivity. In the beginning of this study is showed the concepts, classifications, as well as expressivity complexity levels. In the sequence, it does a interaction between Expressivity, Physical Education and Dance, it noted the importance of the creative act of expressivity inside teaching’s context. The participants were 16 students of Physical Education course from Universidade Regional Integrada do Alto Uruguai e das Missões (URI), Campus de Erechim. They attend classes of Methodology of School Dance Teaching discipline. The instruments utilized in the research were semistructured interviews (initial and final) and field notes. The collective period has happened at April 02nd, 2008 until May 28th, 2008 at Dance Room and at URI’s Central Auditorium. The informations were grouped in units of meanings that were rewrited. This originated the analyze categories. The results show a significative evolution related to expressivity definitions, which clear out the body language in your sensibility, as well as the observation that creating and also motivating the creation of new movements are possible, breaking down social obstacles with the Dance taking a place inside the Physical Education’s context.

A tese analisa práticas de dança como componente curricular obrigatório de Arte na educação básica, em escolas públicas no Rio Grande do Sul, Brasil. É produto da pesquisa com seis professoras graduadas em dança. A partir da identificação de tensões provocadas pela prática da dança na escola (construção de currículo, planos de ensino e aulas), a pesquisa problematiza as relações de saber-poder que configuram essas práticas. Identifica que as práticas de dança, ao colocar o corpo (composto, exposto, soma e tátil) como centro do currículo, desestabilizam tecnologias de governo naturalizadas na escola, tais como as operações disciplinares. Analisa diferentes práticas, com ênfase para práticas de composição e estudos labanianos, práticas com perspectiva da educação somática e práticas com presença do toque e do contato. A pesquisadora acompanhou duas semanas de aula de cada professora e realizou entrevistas com as professoras e com um integrante da equipe diretiva de cada escola. Ainda, os dados foram produzidos por registros em diário de campo, áudio, vídeo e fotografia. A produção e análise dos dados tece a perspectiva dos estudos foucaultianos, com saberes artístico-pedagógicos que a autora traz encarnados. A tese identifica a conduta artista das professoras, construída na relação com a escola, e mostra que as práticas se constituem em espaços íntimos a partir dos saberes da dança
This thesis analyses how six dance teachers compose their artistic-pedagogical practices in the formal system of education in the Rio Grande do Sul state, Brazil. Dance is an art subject in the compulsory curriculum in the primary and secondary schools. From the identification of tensions provoked by the practice of dance at school – such as the construction of the curriculum, teaching plans and classes – the study problematises the power-knowledge relations in these practices. The research identifies that dance practices destabilise naturalised technologies of government at school, such as disciplinary operations, through placing the body (composed, exposed, soma and tactile) at the centre of the curriculum. The work analyses different practices, with emphasis on composition, Laban studies, somatic education, touch and contact. The methodology of data production involves participative observation of each teacher's lessons along two weeks, alongside interviewing teachers and members of the management staff. These actions were made through the using of the notebook, audio-recording, video and photographs.The analysis, as well as data production, was made through the articulation of Foucaultian studies with the researcher’s embodied artistic-pedagogical knowledge. The thesis identifies the teachers 'artist conduct' built in the relationship with the school, and shows that practices constitute intimate spaces from the dance knowledge.

Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”.
A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”

Alors que nombre d’artistes s’emploient à confronter les arts d’interprétation ou à transgresser les catégories de genre sur les scènes européennes, la formation des comédiens, en France, demeure organisée selon une logique disciplinaire. Au cours de son apprentissage, un élève préparant le diplôme national supérieur professionnel de comédien (DNSPC) dans une des écoles habilitées par l’État pratique néanmoins la danse et le chant, s’initie souvent aux arts martiaux et aux techniques somatiques, s’essaie parfois à l’acrobatie ou à la maîtrise d’un instrument de musique. Ces disciplines non-théâtrales intégrées à la formation visent à la fois à lui procurer des aptitudes complémentaires et à l’entraîner à l’exercice de « l’écart » tel que le définit le philosophe François Jullien, pour revenir à son art enrichi et peut-être ressourcé. Cependant, telle qu’elle transparaît dans des programmes et des discours qui la légitiment, la considération dont ces pratiques bénéficient dans des institutions qui s’imposent comme des voies d’accès privilégiées aux carrières théâtrales ne s’avère pas tout à fait équivalente à la place qui leur est réservée dans les cursus. L’enseignement, centré sur l’interprétation du répertoire dramatique, est principalement assuré par des metteurs en scènes invités, qui apportent leur vision du théâtre et leur appréhension du jeu. Il repose sur un système de valeurs dont les maîtres mots sont singularité et liberté. La transmission de techniques centrées sur la respiration, la voix, la concentration, le corps ou le mouvement ne s’articule pas sans difficultés avec une telle conception. Des contradictions surgissent entre la nécessaire adaptation de leur contenu au contexte d’enseignement et la sauvegarde d’une altérité féconde, tant sur le plan artistique que pédagogique. À travers une enquête auprès de cinq écoles supérieures d’art dramatique françaises, de leurs professeurs et de leurs étudiants, la thèse examine la formation de l’acteur au prisme de l’interdisciplinarité, afin de tenter d’en éclaircir les soubassements idéologiques et les enjeux esthétiques, mais aussi les implications dans la vie professionnelle des futurs acteurs
While many artists strive to redefine the performing arts and break through genre-bound approaches on European stages, actor training in France is still structured around strong disciplinary lines. Throughout their training, student-actors who prepare the “diplôme national supérieur professionnel de comédien” (National Acting Degree) in French-government-accredited acting schools, nonetheless take dance and singing classes, often train in martial arts and somatic practices, and sometimes try their hands at acrobatics, or playing an instrument. These non-theatrical disciplines are integrated to their training with a view to complementing the young actors' set of skills but also to make them experience what philosopher François Jullien calls “l'écart”, and come back to their own art enriched and energised by their foray into other disciplines. Even if the interdisciplinary approach is touted in programmes and theoretical literature issued by the most prominent acting schools, that prestige is not reflected in the share given to non-theatrical approaches in actual syllabuses. The teaching in acting-schools is based on performing the repertoire, with master-classes given by guest directors who bring their own vision of theatre and performance. The underlying value system places individual difference and artistic freedom at the top. This conception of acting can make it difficult to teach techniques based on the body, movement, vocal training, breathing, and focusing. The dilemma is that these practices need to be adapted to the overall teaching context, all the while preserving the otherness that makes them such a fruitful alternative both artistically and pedagogically.Thanks to a survey conducted at five French Acting Schools, alongside teachers and students, this thesis explores actor training in the light of interdisciplinarity, as an attempt to clarify its underlying ideological tenets and its aesthetic potential, as well as what it means for the future careers of professional actors

« Plus grand spectacle du monde », le défilé carnavalesque des écoles de samba cariocas constitue une pratique culturelle à la fois associée à une population marginalisée, noire et populaire, et portée comme un symbole de la culture nationale brésilienne transcendant les appartenances de classe et de race. L’étude ethnographique du quotidien et des pratiques des ritmistas qui composent les baterias, « cœur » percussif des défilés, a pour objectif de mettre au jour les enjeux de cette contradiction. Celle-ci, inhérente aux écoles de samba depuis leur apparition dans les années 1920-30, se traduit dans une quête de légitimité, de respectabilité et de civilisation de la part de ces institutions comme des individus qui les composent, ce qui conduit à la mise en place d’une discipline caractérisée par l’euphémisation des marqueurs raciaux et le lissage des relations de classe, ainsi que de rapports de légitimité complexes. L’approche repose sur une mise en perspective sociohistorique, théorique et politique du matériau ethnographique. Elle se situe dans le cadre d’une sociologie configurationnelle appliquée à la sociologie de la domination, et attachée à la mise au jour des rapports d’interdépendance à de multiples niveaux ainsi que des reconfigurations en train de se faire. L’objectif de cette thèse est de questionner les matérialisations sociales, symboliques et pratiques d’une configuration de rapports de pouvoirs dans un contexte postcolonial et postesclavagiste. La quête de civilisation des écoles de samba, inscrite dans le processus de civilisation brésilien, engendre un vaste dispositif disciplinaire aux dimensions multiples, qui structure les logiques d’appartenance de classe, de race et de genre, et a des effets concrets sur le développement de pratiques musicales à la portée hautement symbolique, ainsi que sur les représentations et trajectoires des ritmistas. La partie introductive de la thèse apporte un cadrage théorique, historique et méthodologique, structurant l’analyse des enjeux spécifiques du terrain des baterias d’écoles de samba. La première partie aborde les baterias en tant que dispositif institutionnel disciplinaire, tant au niveau collectif qu’individuel, au travers de l’étude des conditions sociales de l’entrée dans la pratique, de la configuration du dispositif disciplinaire interne aux baterias, de son inscription dans les corps, et de ses dimensions temporelles. Les caractéristiques de ce dispositif sont au principe de la bateria comme espace de reconfiguration des appartenances de classe, de race et de genre, du fait de l’imbrication des dynamiques de quête et de processus de civilisation, examinées dans la seconde partie. Enfin, la troisième partie questionne les effets de ce processus de civilisation sur les pratiques musicales, en analysant la configuration des modes d’apprentissage, les pratiques d’écoute musicale des ritmistas, ainsi que la fabrique, l’utilisation et la réception des critères de jugement des baterias
“The greatest show in the world”, the carioca samba schools’ carnival parade is a cultural practice both associated with marginalized, black and popular population and constitutes a symbol of Brazilian national culture, transcending class and race identity. The ethnographical study of the daily life and practices of the ritmistas, who compose the baterias, percussive “heart” of the parades, aims at revealing what is at stake about this contradiction. Inherent to the samba schools since they appeared in the 1920’s and 30’s, this contradiction results into a legitimacy and respectability quest, from those institutions as well as the individuals who compose them, which leads to the implementation of a strong discipline, characterized by the euphemizing of race and class distinctions, such as by complex legitimacy relationships. The ethnographical material has been put into a sociohistorical, theoretical and political perspective, within the framework of a configurational sociology, applied to a domination sociology, in which the interdependence relationships at multiple levels and ongoing reconfigurations are revealed. The thesis aims at questioning the social, symbolical and practical materializations of a power relationship configuration in a postcolonial and postslavery context. The civilization quest in the samba schools, coming within the scope of the Brazilian civilization process, creates a multidimensional disciplinary dispositive, structuring the class, race and gender identities, and has concrete effects on the development of highly symbolical musical practices, such as on the ritmistas’ representations and trajectories. The introductive part of the thesis brings a theoretical, historical and methodological framework, showing the stakes of the specificities of the samba schools’ baterias field. The first part tackles the baterias as an institutional disciplinary dispositive, at a collective as well as individual level, through the study of the social conditions of the beginning of this practice, the configuration of the disciplinary dispositive inside the baterias, its bodily inscription, its temporal dimensions. The characteristics of this dispositive are the cause of the bateria seen as a space of reconfiguration of class, race and gender identities, because of the imbrication of the dynamics of civilization quest and process, which are studied in the second part. The third part questions the effects of this civilization process on the musical practices, through the analysis of the learning modes configurations, practices of musical listening, such as the manufacturing, the use and the reception of judging criteria of the baterias

Il presente elaborato intende approfondire le ipotesi avanzate nel mio precedente lavoro di ricerca, Il Codice inedito di falconeria della Biblioteca di Dresda (Mscd.Dresd.Ob.21), stampato e catalogato presso la SLUB, sulla base delle argomentazioni dello studioso croato Grmek riguardo la tradizione letteraria del trattato di Iacobello Vitturi contenuto nel codice Ob.21. L’intento è quello di definire la collocazione spaziale del manoscritto e, al fine di raggiungere tale obbiettivo, la ricerca è stata incentrata sul raffronto linguistico del codice dresdense col manoscritto conservato presso la Biblioteca Universitaria di Bologna, ms. 1349. Le particolarità linguistiche rintracciate nel codice Ob.21 a seguito dell’analisi comparativa mi hanno permesso di chiudere la ricerca nella direzione intrapresa: le forme mantovane del lessico della lingua adoperata in tutto il codice Ob.21, insieme ad altre spie fonetiche e morfologiche, costituiscono un’ulteriore prova a favore della collocazione del manoscritto in area mantovana.

Orientação: Francisco Carreiro da Costa
Neste estudo de caso pretendemos analisar e refletir sobre o ensino da dança na disciplina de educação física. Enquadrado teoricamente por um conjunto de autores que se debruçaram sobre esta problemática, procurámos conhecer a realidade do ensino da dança na disciplina de educação física na escola EB 2.3 D. José I, em Vila Real de S. António. Procurámos saber se os professores que integram o grupo de educação física da escola referida lecionam a dança nas suas aulas, como o fazem, dificuldades que sentem e soluções que encontram na lecionação dessa matéria, bem como o valor que atribuem à dança no desenvolvimento dos alunos. Este estudo seguiu os procedimentos metodológicos da investigação qualitativa, tendo sido utilizado como instrumento de recolha de informação a entrevista semiestruturada e recorrido à análise de conteúdo, mais especificamente ao método da análise categorial, para o tratamento da informação recolhida. Destacamos como principal conclusão do estudo a manifesta preocupação dos professores em abordar a matéria de dança nas suas aulas, apesar das dificuldades referidas pelos mesmos que se prendem, fundamentalmente, com lacunas na sua formação e preconceitos por parte dos alunos em relação à dança, expressas sobretudo pelos alunos do género masculino.
This case study intends to analyze and reflect on the dance teaching in physical education. Framed theoretically by a number of authors who have studied this issue, we sought to know the actuality of dance teaching in physical education at a specific school located in Vila Real de S. António. We sought to know how teachers develops dance in their classes, their options, difficulties and solutions concern on that matter, as well as the value assigned to the dance towards students development. This study followed the methodological procedures of qualitative research and used semi-structured individual interviews as a tool for collecting data, processed through the categorical analyses We highlight as the main conclusion of the study the fact that teachers seek to develop dance, despite the difficulties referred concerning to the lack of training and preconceived ideologies of dance expressed mainly by male pupils.