Dissertations / Theses: 'Dance event'

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Martinková, Anna. "Event marketing." Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-16584.

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The diploma thesis deals with problems of event marketing and its position in the communication mix of the companies Karlovarské minerální vody, a.s. and EMCO spol. s.r.o.. First of all it describes basic theory aspects of event marketing. The practical part of the thesis faces the two brands application of event marketing strategy. According to defined aspects the thesis describes and weighs one of Mattoni events and one of Emco events.

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Liao, Shuyi. "Building partnerships as a key strategy in developing an event management model for an international dance event : a case study of the 2008 WDA (World Dance Alliance) Global Summit, Brisbane, Australia." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30356/1/Shuyi_Liao_Thesis.pdf.

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With the increasing growth of cultural events both in Australia and internationally, there has also been an increase in event management studies; in theory and in practice. Although a series of related knowledge and skills required specifically by event managers has already been identified by many researchers (Perry et al., 1996; Getz, 2002 & Silvers et al., 2006) and generic event management models proposed, including ‘project management’ strategies in an event context (Getz, 2007), knowledge gaps still exist in relation to identifying specific types of events, especially for not-for-profit arts events. For events of a largely voluntary nature, insufficient resources are recognised as the most challenging; including finance, human resources and infrastructure. Therefore, the concepts and principles which are adopted by large scale commercial events may not be suitable for not-for-profit arts events aiming at providing professional network opportunities for artists. Building partnerships are identified as a key strategy in developing an effective event management model for this type of event. Using the 2008 World Dance Alliance Global Summit (WDAGS) in Brisbane 13-18 July, as a case study, the level, nature and relationship of key partners are investigated. Data is triangulated from interviews with organisers of the 2008 WDAGS, on-line and email surveys of delegates, participant observation and analysis of formal and informal documents, to produce a management model suited to this kind of event.

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Liao, Shuyi. "Building partnerships as a key strategy in developing an event management model for an international dance event : a case study of the 2008 WDA (World Dance Alliance) Global Summit, Brisbane, Australia." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30356/.

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With the increasing growth of cultural events both in Australia and internationally, there has also been an increase in event management studies; in theory and in practice. Although a series of related knowledge and skills required specifically by event managers has already been identified by many researchers (Perry et al., 1996; Getz, 2002 & Silvers et al., 2006) and generic event management models proposed, including ‘project management’ strategies in an event context (Getz, 2007), knowledge gaps still exist in relation to identifying specific types of events, especially for not-for-profit arts events. For events of a largely voluntary nature, insufficient resources are recognised as the most challenging; including finance, human resources and infrastructure. Therefore, the concepts and principles which are adopted by large scale commercial events may not be suitable for not-for-profit arts events aiming at providing professional network opportunities for artists. Building partnerships are identified as a key strategy in developing an effective event management model for this type of event. Using the 2008 World Dance Alliance Global Summit (WDAGS) in Brisbane 13-18 July, as a case study, the level, nature and relationship of key partners are investigated. Data is triangulated from interviews with organisers of the 2008 WDAGS, on-line and email surveys of delegates, participant observation and analysis of formal and informal documents, to produce a management model suited to this kind of event.

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Myers, Kelsey. "Evaluating Video Feedback as an Antecedent or Consequent Event for Improving Performance of Dance Skills." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7550.

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This study used video feedback to compare the effectiveness of antecedent and consequent feedback. Video feedback was used to increase the performance of dance skills of young dancers. A multiple baseline across subjects with an embedded multi-element comparison was used for three female dancers between the ages of 10 and 11 years old. Antecedent video feedback was given immediately before the performance of a target behavior, and consequent video feedback was given immediately after a performance of a different dance skill. The results show that video feedback increased all targeted skills for subjects, however, there were no differentiated results when comparing antecedent and consequent feedback.

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Valle, Flavia Pilla do. "Contraconduta da criação : um estudo com alunos da graduação em dança." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/69919.

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Este trabalho discorre sobre os modos de formação no ensino superior de dança, debruçando-se sobre a dimensão da criação, na perspectiva da composição coreográfica e de seu estatuto nessa formação. Parte-se de uma prática pedagógica que desafia os alunos a criar a partir da contraconduta, que envolve conhecer seus modos de criar usuais e desafiar-se a fazer diferente. A criação, assim, não é entendida como um processo de autodescoberta, e sim como um processo de resistência a saberes que atravessam o sujeito da criação. Nisso, opera-se com a ideia de poder, conduta e governo de si. A partir da noção do cuidado de si dos gregos antigos, que Foucault estudou nos anos 1980, discutem-se quatro princípios para a prática pedagógica: contraconduta como crise; contraconduta como disponibilidade, contraconduta como inquietude; e contraconduta como relação ética. A pesquisa produziu material durante três semestres para análise. Esses registros consistem em escritos sobre o processo coreográfico de solos de dança dos alunos. Dito isso, a ideia da contraconduta expande-se para ser um conceito operatório de toda a tese, na qual se quer visualizar a trama por intermédio da qual os discursos sobre a dança assumem forma nos corpos em formação. A obra de Foucault serve como ferramenta para poder analisar os fios que constituem a teia de discursos na qual o jogo da contraconduta se forma e emerge por meio de enunciações que: demonstram territórios demarcados da dança; produzem entendimentos sobre a formação de base; repetem ideais de beleza; constituem filiação estética do professor de dança; entre outros. Portanto, o jogo dos enunciados em que os alunos se constituem e a multiplicidade de seus posicionamentos é relatado, tanto na sala de aula quanto nos próprios acontecimentos históricos da dança. Por fim, esta pesquisa defende a contraconduta da criação como um meio possível de constituir eticamente o sujeito da dança, além de defender o ensino superior como um espaço importante para esse tipo de trabalho.
This study deals with the way dance is taught in institutes of higher learning, being attentive on the process of creation, understood here as choreographic composition, as well as its relevance in the curriculum. Its point of departure is a pedagogical practice that challenges the students to be creative, based on the concept of counterconduct, which includes the knowledge of their usual ways of creation and challenges them to create in a different way. Thus, the act of creation is not to be understood as a process of selfdiscovery but as a process of resistance to knowledge already embedded which permeate the subject of creation. In this way, it operates with the idea of power, conduct and self-government. Taking as a point of departure the notion of selfcare of the ancient Greeks, which Foucault studied during the 80s, the four principles of the pedagogical praxis are studied: 1. counterconduct as crisis; 2. counterconduct as availability; 3. countercondut as restlessness; 4. counterconduct as ethical relationships. Data collected during three semesters were used as material to be analyzed. These materials consisted of written records of the creative process during the choreography of solos by dance students. As a result, the concept of counterconduct expanded itself to be an operational concept for the whole thesis, in which one tries to make visible the threads through which the discourses on dance take shape on the bodies of would-be dancers. Foucault’s work serves as a tool to analyze the game of counterconduct which is formed and emerges through concepts which demonstrate territories assigned to the dance, generate the understanding of basic training, repeat ideals of beauty, and constitute esthetical affiliations of dance instructors, among many other aspects to be considered. Therefore, the interplay of statements in which each student is constituted and the multiplicity of their positioning is recorded, as much in the classroom as in the very historical events of dance. Finally, this research supports the counterconduct of creation as a possible means of ethically constituting the subject of dance, as well as defending higher learning as an important territory for this kind of work.

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Greenwood, Mark. "The performing body in the event of writing : 'Lad Broke', Camp & Furnace, Liverpool, April 2012." Thesis, Kingston University, 2012. http://eprints.kingston.ac.uk/27789/.

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This thesis centres on the 48 hour performance of Lad Broke in Liverpool on the 20th April 2012. This written component addresses a range of ideas that have emerged in relation to the event of durational performance including modes of inscription, the performing body and its position within a network of performance art and writing practice. By examining Lad Broke within the fields of art and wider cultural practices I am able to draw on ideas of duration that include narrative time, boredom and the effects of duration on the performing body and its spectators. I discuss duration within the context of music by examining rhythm, tempo and time signatures alongside the punk movement, where boredom and a need to act/react immediately remain significant factors in my performance and writing practice. I explore inscription as a physical act of writing, mark making and labour in order to position performance and writing as a combined practical and critical enquiry that intersects in the event of Lad Broke. I also examine notions of the inscribed body in relation to the writings of Michel De Certeau, where he describes the body as written by authority and the law. I refer to experimental writing in order to demonstrate how writing can reveal the materiality of duration and time passing, while also discussing the temporal structure of Lad Broke as a continuous present, displacing traditional narrative structures and emphasising the act of 'doing' rather than the production of a complete and finished object. The performing body is considered in a number of contexts that emerge in the performance of Lad Broke. Ideas around the labouring body are especially useful, where I draw on a lineage of labour practices that have informed my performance works. I look at ideas of labour in relation to wider cultural practice, raising questions around displaced masculinity and the role of the artist as cultural worker. I return to punk where alternative labouring practices position the body as a site of resistance and dissidence. This leads to a discussion of networks and the systems of dissemination that allow post sub-cultural groups to express themselves while evading a capitalist economy. I look at the zine as an art form that successfully provides a model of dissemination and autonomy which relates back to the formation of performance art networks, where the sharing of work displaces monetary exchange and subsumption into a capitalist economy. The event of Lad Broke is examined through a series of viewpoints including the performer, the writer and responsive representatives of the performance art network. The event is then offered to I a wider readership in the form of a zine, where the materials and leftovers of Lad Broke are reconfigured as a material response. The content and structure of this thesis discusses and argues for the performing body to be considered as a site of inscription resistant to the commodification of cultural practice. Yet, throughout this work, it is the immediacy of the live event which remains vital, an event which refuses to be recuperated through these written responses.

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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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CECCALDI, ELEONORA. "CEST: a Cognitive Event based Semi-automatic Technique for behavior segmentation." Doctoral thesis, Università degli studi di Genova, 2021. http://hdl.handle.net/11567/1047071.

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This work introduces CEST, a Cognitive Event based Semiautomatic Technique for behavior segmentation. The technique was inspired by an everyday cognitive process. Humans, in fact, make sense of what happens to them by breaking the continuous stream of activity into smaller units, through a process known as segmentation. A cognitive theory, the Event Segmentation Theory, provides a computational and neurophysiological account of this process, describing how the detection of changes in the current situation drive boundary perception. CEST was designed with the aim of providing affective researchers with a tool to semi-automatically segment behavior. Researchers investigating behavior, as a matter of fact, often need to parse their research data into simpler units, either manually or automatically. To perform segmentation, the technique combines manual annotations and the output of change-point detection algorithms, techniques from time-series research that afford the detection of abrupt changes in time-series. CEST is inherently multidisciplinary: it is, to the best of our knowledge, the first attempt to adopt a cognitive science perspective on the issue of (semi) automatic behavior segmentation. CEST is a general-purpose technique, as it aims at providing a tool for segmenting behavior across research areas. In this manuscript, we detail the theories behind the design of CEST and the results of two experimental studies aimed at assessing the feasibility of the approach on both single and group scenarios. Most importantly, we present the results of the evaluation of CEST on a data-set of dance performances. We explore seven different techniques for change-point detection that could be leveraged to achieve semi-automatic segmentation through CEST and illustrate how two different bayesian algorithms led to the highest scores. Upon selecting the best algorithms, we measured the effect of the temporal grain of the analysis on the performance. Overall, our results support the idea of a semiautomatic segmentation technique for behavior segmentation. The output of the analysis mirrors cognitive science research on segmentation and on event structure perception. The work also tackles new challenges that may arise from our approach.

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Stejskalová, Natálie. "Street dance - battly, eventy, životní styl." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-363558.

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In my diploma thesis I would like to focus on dance battles events and on the street dance life style as it's the topic of my diploma thesis. I have been very close of the street dance world, as a dancer and an observer, since I witnessed countless dance battles, concerts, camps, workshops and so on - which gave me the knowledge to express myself on this topic and gave my perspective in both ways: from up to the stage and audience. I was always very curios and wanted to share with, such as: how does the street dance events looks like, what's happening there, what kind people attending it, what is the motivation for dancers, djs, choreographers, producers etc…? Where those events are happening and how often is them happening? My curiosity crossed the Czech Republic border, I wanted to know more from outside of my country. I believe that having the knowledge of what's going on abroad gives you power of discuss and compare things with confidence and comfortability. Mainly my research methods were observing and interviewing, then field diaries, video documentation, collecting as much information as possible from people that lives in this world nonstop, which gave me so much knowledge from inside, how they behave, how they communicate, their attitude etc. This scenario always fascinated me and after attending to many events, battles, meetings and jam sessions (as a dancer and observer), I was able to collect different point of views from another dancers, choreographers and guests and compare it with my own thoughts regarding to it, using my countless notes and hours of recording interviews, those tools combined gave me so much information.

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Xavier, Jussara Janning. "Acontecimentos de dança: corporeidades e teatralidades contemporâneas." Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/650.

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Made available in DSpace on 2016-12-08T16:03:14Z (GMT). No. of bitstreams: 1 Jussara.pdf: 3289353 bytes, checksum: ad28478a2395e5f09b3cb9b3166f8df7 (MD5) Previous issue date: 2012-05-28
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis discusses the concept of contemporary dance as event and realization of an experience in which life is intensified and transformed into a single space-time. Thus, the contemporary in dance is not determined by chronological factor, but as a suspended art where past, present and future crosses each other. The work is composed of different analytical essays. Its parts are offered as movable possibilities of combination, portions that are intertwined, flowing movements. It is a relational and transitory map of doings and sayings related to dance, in which, mainly, the arguments of Gilles Deleuze, Félix Guattari, Giorgio Agamben, Josette Feral and José Gil are essential. The first part is dedicated to problematize different corporealities: identifies games with the variation and plasticity of the body, such as attempts to produce new modes of perception and affection. In this sense, it presents the method Percepção Física, developed by director Alejandro Ahmed with Grupo Cena 11 Cia. de Dança. And also discusses performances of dancers and coreographers such as Eduardo Fukushima (SP) and Micheline Torres (RJ), whose bodies are permanently conceived as a becoming-other. Next, dance is investigated from a theoretical perspective of theatricality, that is, dance is understood as an artistic act that transform reality and violation of ordinary life. It is considered that theatricality results from dynamic perceptions the look that links the observed, either subject or object, to an observer, and only thus, gives rise to fiction. To search for different possibilities of action in the contemporary scene, creations capable of producing surprising effects related to the habitual, as well, displacements and deviations, are analysed. Artists and companies such as Vanilto Lakka (MG), Erika Rosendo (SC) and Cena 11 are considered
Esta tese discute a noção de dança contemporânea como acontecimento e realização de uma experiência em que a vida é intensificada e transformada num tempo-espaço único. Sendo assim, o contemporâneo na dança não é determinado por um valor cronológico, mas como arte suspensa em que passado, presente e futuro se atravessam. O trabalho é composto por diferentes ensaios analíticos. Suas partes se oferecem como possibilidades móveis de combinação, porções que se interpenetram, movimentos que circulam. Trata-se de um mapa relacional e transitório de fazeres-dizeres ligados a dança, em que, principalmente, os argumentos de Gilles Deleuze, Félix Guattari, Giorgio Agamben, Josette Feral e José Gil são imprescindíveis. Um primeiro momento é dedicado a problematizar diferentes corporeidades: identifica jogos com a variação e plasticidade do corpo, como tentativas de se produzir novos modos de percepção e afecção. Neste sentido, apresenta uma pesquisa do método Percepção Física, desenvolvido pelo diretor Alejandro Ahmed junto ao Grupo Cena 11 Cia. de Dança (SC). E, ainda, discute atuações dos intérpretes e criadores Eduardo Fukushima (SP) e Micheline Torres (RJ), cujos corpos são pensados de modo contínuo como devir-outro. No espaço seguinte, a dança é investigada a partir da perspectiva teórica da teatralidade, ou seja, a dança é compreendida enquanto ato artístico de transformação do real e violação do cotidiano. Considera-se que a teatralidade resulta de dinâmicas perceptivas - do olhar que une um observado, seja sujeito ou objeto, a um observador, e somente assim, faz emergir a ficção. Para pesquisar diferentes possibilidades de ação da contemporaneidade na cena, criações que fabricam efeitos de estranhamento em relação ao familiar, bem como, deslocamentos e desvios, são analisadas. Artistas e grupos como Vanilto Lakka (MG), Erika Rosendo (SC) e Cena 11 são considerados

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Bernardo, Daniel. "Never Odd Or Even: Using Temporal Structures In Composing Music For Dance." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115047/.

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This study engages the collaboration of dance and music, focusing primarily on experiences in the production of a large scale collaborative concert entitled Never Odd or Even. Famous historical collaborations offer archetypal collaborative models, the more unconventional of which are applied to the pieces of the concert. Issues and observations regarding cross-influence, project evolution, and application of the collaborative models are engaged to determine effective means of collaboration given different circumstances. The key focus of the study, the temporal relationship between music and dance, is explored in great detail to determine three models for relating time between music and dance. These temporal relationship models are applied to the pieces and evaluated on effectiveness and potential strengths when applied to dance.

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McGuire, L. Elizabeth. "The year of the angry young men, performing gender at championship tap dance events." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/MQ43391.pdf.

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Goodridge, Janet Elizabeth. "Rhythm and timing in human movement with reference to performance events: drama, dance and ceremony." Thesis, University College London (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489828.

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Stillo, Michael Edward. "Tango Panopticon: Developing a Platform for Supporting Live Synchronous Art Events Based in Relational Aesthetics." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1781.

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The Tango Panopticon project merges art with technology to create a live and synchronous art experience which is just as much about the participants as it is about the observers. The goal of this project is to create a dialogue between observers of the event in the hopes of creating new social connections where there were none before. This goal is achieved by allowing observers to view the event from anywhere around the world on a computer via the internet and participate in a dialogue with other users on the website. The other objective of this project is to create a multimedia internet platform for other art projects to use. Other artists that are interested in hosting their own live synchronous event will be able to use the platform we have created and customize it to the specific needs of their project.

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MASINA, Marinella. "Risposta morfologica della spiaggia compresa tra Lido di Dante e Lido di Classe ad eventi di mareggiata." Doctoral thesis, Università degli studi di Ferrara, 2012. http://hdl.handle.net/11392/2389249.

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The impact of sea storms on low-lying sandy coasts may induce hazardous erosive beach and dune processes and, in the most severe situations, flooding of coastal areas which can cause, on a very limited time scale, significant changes in the littoral. The risk level increases for highly developed areas, where the negative effects on the local economy of the territory are added to the direct consequences of the physical impact of storms. In front of the rapid and continuous population growth in coastal areas, the increased human activities and the threat posed by rising sea level, understanding and forecasting the possible storm induced damage to the coastal environment may represent a useful tool in support decisions in coastal management. In this context dunes play a role of fundamental importance in granting natural protection to the backbeach during storm events. For the areas behind the shore placed below the mean sea level (which is the case of quite all Emilia-Romagna coastal environment), dunes are at the same time the first line of defense as well as the last barrier against phenomena of marine ingression. In the present study the response to the storm events befallen in the period between September 2008 and March 2010 is discussed in detail for one of the few remaining dune cordons along the coast of the Emilia-Romagna Region, located between Lido di Dante and Lido di Classe and characterized by an extension of about 6 km. Storm surge phenomena and wave conditions were analyzed to identify marine storms that may induce significant morphological changes in the beach-dune system. The characteristics of extreme sea levels that occur along the northwestern Adriatic coast were identified through the examination of the longest mareographic series available, highlighting their highly seasonal pattern. The quantification of the impact of storm surges was carried out comparing the pre and post-storm profiles, spaced a hundred meters apart, and simulating the morphological evolution of beach profiles through SBEACH numerical model. The results show that the combination of storm surge and wave conditions induces the most serious consequences for the considered physical system. The analysis clearly shows that the combination of high sea levels and average wave intensity has a decisive role in erosion and inundation processes that affect the regional coast. The study results indicate that the magnitude of the impacts caused by storm surges is generally controlled by the topographical and morphological beach features (such as slope and amplitude) as well as by dune state (ridge elevation, amount of frontal dune reservoir, distance to sea): these features may prevent extensive erosion in some areas and promote duneface retreat or washover in others. In spite of the smaller wave heights associated to Scirocco winds, storm surges, which generally are higher during these conditions, may result in particularly dangerous effects for the resilience of the dune system due to the longer wave period depending on the morphology of the Adriatic basin. An evaluation of the volume lost from the impact of sea storms further indicates that a system like the one located in the northern part of the coastal stretch under consideration, already severely degraded by high human impact and effects of headlong land subsidence, which in this area reaches the highest value of the entire regional coast, becomes increasingly susceptible to storm events and easier involved during less intense storm conditions.

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Camani, Emanuele Bitencourt Neves. "PELEIA LUSO-CASTELHANA E OS EFEITOS DE SENTIDOS EM O LINGUAJAR DO GAÚCHO BRASILEIRO DE DANTE DE LAYTANO." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/9874.

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This paper results from a research study on the organization of historiographic discourse regarding ethnic and socio-historical formation of the southern inhabitants of the south of Brazil, identified as brazilian gaucho, reflecting on his language or manner of speech that combines elements of Portuguese and Spanish. Having as the corpus of research the work of Dante Laytano, entitled O Linguajar do Gaúcho Brasileiro, published in 1981, the research wanted to identify the treatment given by this author to the two areas of study: language and historiography which established his point of view about representation of the source of the gaucho language, from the sources consulted and referenced in the work above. To achieve the proposed objective and answer the questions that guiding the research, we sought, in the concepts of the Event Semantics and Discourse Analysis (AD) the basement that made possible to analyze and reflect on how the elements of language operated in historiography texts on the language feature of the brazilian gaucho which is called linguajar by the author above. With the light of the AD, becomes evident in this work a discourse about this linguajar, that is in circulation and still redefines the social history of the gaucho and producing effects of meaning, when establish a linguajar for him. The Event Semantics allowed the analysis of the relationship between the question of designation and interdiscourse of enunciatively sequences (SEs) identified, in this work, that rewriting the linguajar of the brazilian gaucho, and also seeks to highlight their regularities and/or conflicts. The study shows that: a) O Linguajar do Gaúcho Brasileiro (1981) seeks to reference the lusitanian matrix of the gaucho language, in other words, to reaffirm their identity, which is brazilian, b) in this work, the author shows that discursive memory is signified by the memorable discourse of portuguese language, establishing relations of conflict with the spanish language (espanholismos), silencing the meanings attributed to the regional and local, in search of the unity of the portuguese language, but in this case, can be considered as a brazilian language, constitutive of the identity of the gaucho and his linguajar. Due to the importance of language for communication, identity, integration and unity of the citizens of the same country or between countries, as the case of the brazilian gaucho, it is understood that this research could lead to further study to this designation, as that, on the one hand, this approach extends the analysis possibilities of the name and sources as historiographical resources from the perspective of the Event Semantics; on the other hand, studies on interdiscourse issues, from the semantic functioning.
Esta dissertação resulta de um estudo investigativo sobre a organização do discurso historiográfico referente à formação étnica e sociohistórica do habitante do sul do Brasil, identificado como gaúcho brasileiro, refletido em sua linguagem ou modo de falar, que reúne elementos da língua portuguesa e espanhola. Tendo como corpus a obra de Dante de Laytano, intitulada O Linguajar do Gaúcho Brasileiro, editada em 1981, a pesquisa buscou nela identificar o tratamento dado pelo autor aos dois domínios de estudo: língua e historiografia sobre os quais estabeleceu seu ponto de vista acerca da representação da origem da língua do gaúcho, a partir das fontes por ele consultadas e referenciadas na obra supra. Para alcançar o objetivo proposto e obter respostas as questões norteadoras da pesquisa, buscou-se nos conceitos da Semântica do Acontecimento e da Análise de Discurso (AD) o embasamento que possibilitou a análise e a reflexão de como os elementos da língua operaram nos textos de historiografia sobre a linguagem característica do gaúcho brasileiro a qual é denominada de linguajar pelo autor acima. A luz da AD, fica evidenciado na obra em questão um discurso sobre este linguajar, discurso este que está em circulação e continua ressignificando a história social do gaúcho e produzindo efeitos de sentido, ao instaurar um linguajar para ele. A Semântica do Acontecimento possibilitou a análise da relação entre a questão da designação e o interdiscurso da sequências enunciativas (SEs) identificadas, na obra em estudo, que reescrituram o denominado linguajar do gaúcho brasileiro, além de buscar também destacar suas regularidades e/ou conflitos. O estudo realizado permite concluir que: a) a obra O Linguajar do Gaúcho Brasileiro (1981) procura referenciar a matriz lusa da linguagem do gaúcho, ou seja, reafirmar a sua identidade, que é brasileira; b) nessa obra, o autor evidencia que a memória discursiva é significada pelo memorável da língua portuguesa, estabelecendo relações de conflito com a língua espanhola (espanholismos), silenciando os sentidos atribuídos ao regional e ao local, em busca da unidade da língua portuguesa, mas neste caso, podendo ser considerada como língua brasileira, constitutiva da identidade do gaúcho e do seu linguajar. Devido à importância da língua para a comunicação, a identidade, a integração e a unidade dos cidadãos de um mesmo país ou entre países, tal como é o caso do gaúcho brasileiro, entende-se que esta pesquisa poderá suscitar novos estudos para a designação, já que, de um lado esta abordagem amplia as possibilidades de análise do nome e das fontes estas enquanto recursos historiográficos sob a perspectiva da Semântica do Acontecimento; de outro lado, estudos sobre as questões de interdiscurso, a partir do funcionamento semântico.

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17

Sharir, Yacov. "Beyond the electronic connection : the technologically manufactured cyber-human and its physical human counterpart in performance : a theory related to convergence identities." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/1498.

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This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.

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Tseng, Ya-Min, and 曾雅敏. "Media Effectiveness of Business Event Marketing : A Case Study on Metro Street Dance Contest." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/x3w4cg.

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碩士
世新大學
公共關係暨廣告學研究所(含碩專班)
103
Street dance has become the most popular activity for Taiwanese teenagers in recent years. Influenced by the trend of pop culture shock, street dance turns into the new social style for Taiwanese teenagers, therefore, the population of street dance teen increase gradually and it also become one of the favorite recreational sports for teens. “Metro Street Dance Competition” has become the benchmark of large-scale street dance activity in Taiwan and with its promotion which let Taipei metro, Taipei city and the people live in Taipei become non-separable. It also enhances the image of Taipei city and Taipei metro and lets the street dance participants pay attention to the event marketing of fitness competition in Taipei. Methods used in the study are content analysis and in-depth interview. The information is collected from China Times, United Daily News, Liberty Times, and Apple Daily to do the content analysis.The result shows that there are no differences to the month of publication, the size of decoration or placement, reporting regimes or subjects, activities, with or without endorsement, and the attractiveness of spokesperson for the four newspapers. However, there are significant differences to the times of advertisement, the space, the reporting purpose, the tone of reporting, the evaluation, and the factors of event marketing. The result shows that to establish clear, meaningful theme and goal would also increase the willingness for participants to join the activity and it can also by star endorsement to attract more media, by those ways to promote the activity and local culture.

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Riediger, Erin. "Dance, the human spirit and event: translating the choreographic principles of “landscape dancing” to the interior design of a secular event space." 2013. http://hdl.handle.net/1993/22127.

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In this Master of Interior Design practicum project I apply the choreographic principles of Stephanie Ballard’s “Landscape Dancing” projects to the design of a secular event space within the James Avenue Pumping Station site in Winnipeg, Manitoba. A landscape dancer’s relationship with their surroundings allows them to create meaning and event in quotidian environments; therefore the application of Ballard’s dance methodology to design can create interior design that affects the human spirit. The process of cultural analysis in conjunction with relevant theories related to the moving body and performance were studied to understand how landscape dancers transform the emotional qualities of an environment through gesture and positioning. This theoretical framework informs the adaptive reuse of an existing structure that reacts to the industrial interior and builds upon its inherent aesthetic to breathe new life into the environment.

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Štrbíková, Barbara. "Loajalita a spokojenost účastníků Street Dance Kemp s nabídkou služeb akce." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-340398.

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

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Chiu, Yu-yen, and 邱玉燕. "A Study of Satisfaction Towards Event Marketing Audience Participation and Urban Identity-Examplified by the 2013 World Sports Dance Conference." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/jnfufb.

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碩士
國立中山大學
傳播管理研究所
102
Organizing international sports events must not be overlooked, as it can enhance the competitiveness of a city, the city imagery, economic development, and various positive benefits, but it also has negative sociocultural and environmental impacts on society. Audience participation satisfaction and urban identity are crucial factors contributing to the success of games and whether there is support and willingness for future holdings of events, thus their special importance. This study adopted the audience of &;quot;2103 World Dance Sports Games&;quot; aged above 15 as the research participants. The quantitative questionnaire survey method was adopted. Findings show that: 1. Prior to the holding of 2013 World Dance Sports Games activities, the general public''s ratio was the highest for the Kaohsiung City and the harbor city imagery. After the activities, the city imagery of cultural city, sports city, friendly city, and healthy city was enhanced. 2. The audience recognized the social cultural and economic benefits brought about by the event marketing strategies of 2013 World Dance Sports Games. 3. The event marketing strategies had a significant impact on participation satisfaction. 4. Participation satisfaction showed a significant correlation with sociocultural and economic identity. The recommendations put forth in this study are: 1. Successful urban marketing comes from effective strategies. hence, marketing strategies guidelines should be planned in advance to attract more people and foreigners to participate. 2. The government should seek a clear city positioning based on future development goals and in consideration to various subjective and objective conditions, thereby shaping the most appealing urban imagery for Kaohsiung. 3. Products have the greatest influence among event marketing strategies. Therefore, despite the finical constrains, the government should strengthen product content and planning when organizing international games, in order to achieve urban marketing effectiveness. 4. Event marketing should possess continuity. The government should still organize relevant educational activities to extend marketing effectiveness.

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Massey, Rachel Helen. "Landscapes of Participation and Tradition: The Australian Folk Festival as Process and Public Event." Thesis, 2021. https://hdl.handle.net/2440/135373.

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Every year, more than eighty self-designated ‘folk festival’ events are staged throughout Australia. Mainly held in regional and rural towns, these are leisure events characterised by the presentation of formal folk music concerts, the staging of folk dance events as well as oral performances, street performance, and both formal and informal opportunities for music-making and folk engagement with a significant emphasis on attendee participation. Australian folk festivals are modern ‘public events’ – grounded phenomena in their own right, with internal structures of intentionality. This thesis draws upon multi-sited fieldwork conducted at fourteen Australian folk festivals spanning three years and five Australian states and territories, including deep involvement on the organising committee of one local festival. Examining and comparing the internal technologies of these events and how these structures create eventmental landscapes and generate folk atmospheres that affect participants’ sensory experience of folk, offers a unique anthropological theoretical insight into festivals as process. Theorising folk festivals as public events and interrogating their logics of design provides an innovative analysis of how folk festival structures operate on individual and community experience of folk practice in Australia and perform folk as a process. Folk process has long been utilised as a method of defining ‘folk’. Folk process refers to the oral transmission of music (and other folk performance) providing continuity between past and present, and in which community selection and variation or evolution by individuals or the community are key aspects. I argue that as an intentional eventmental landscape, the folk festival acts as the primary site of folk process in Australia, and that this process is facilitated and shaped by participant movement within this landscape. I also argue that the concept of oral transmission should be expanded to include bodily transmission, the body-to-body sharing of folk.
Thesis (Ph.D.) -- University of Adelaide, School of Social Sciences, 2021

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REYES, STEFANO. "La struttura che connette. Un punto di vista coreologico per osservare e potenziare i luoghi d'incontro delle comunità locali. The structure that connect. A choreological point of view to observe and empower meeting places of local communities." Doctoral thesis, 2017. http://hdl.handle.net/2158/1081969.

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ABSTRACT Le caratteristiche dei luoghi in cui viviamo influenzano il nostro comportamento individuale e sociale (Costa, 2013; Hall, 1968). Viviamo in spazi che, per motivi sia culturali che biologici, generalmente diamo per scontati ma che in realtà cambiano, spesso rapidamente, con l'introduzione di regole e oggetti che ne modificano strutturalmente il funzionamento e il ruolo sociale (Choay, 2004; Decandia, 2000, Gehl, 1996). Questi cambiamenti influenzano la trasformazione dei nostri modelli comportamentali e culturali (Zanetto, 2011; Staro, 2011; La Cecla, 1995) perfino nella più delicata fase di trasmissione culturale fra generazioni diverse, mettendo in dubbio l'auto-direzione culturale delle comunità. Il momento della festa comunitaria tradizionale (e talvolta al suo interno il momento della danza), è quello in cui vengono maggiormente modificate le strutture preesistenti con altre (dai festoni, all'allestimento di palchi e tendoni, etc), scelte dalla stessa comunità, per ospitare l'interazione sociale fra i partecipanti, in maniera da essa ritenuta più adeguata. Il confronto delle strutture e delle azioni nella festa e nei luoghi d'incontro quotidiani, può aiutare a comprendere se c'è congruenza e continuità fra quelli scelti per rimanere stabili e quelli continuamente rinnovati col passare del tempo. Considero strutture tutti gli elementi che danno forma allo spazio-tempo dell'ambiente di vita dell'uomo, influenzando il suo comportamento in qualche maniera. Quello che mi accingo a presentare è un metodo di analisi, trascrizione e descrizione dei sistemi di spazi condivisi e dei modi d’incontrarsi specifici di diverse culture (Hall, 1968; Rapoport, 1982). Esso è orientato ad identificare come le strutture (temporanee,1 durevoli2 e agite3), dell’ambiente di vita di specifiche comunità locali, influenzino la sincronizzazione4 (Bateson, 2010; Iacoboni, 2008) e relazione fra gli abitanti e con il loro territorio (Magnaghi, 2010), in un processo volto ad individuarne le analogie ed i tratti persistenti. In esso l’osservatore fa un’analisi di tipo fenomenologico (Husserl, 2009), partecipando alle attività sociali, così da poterne esplorare le sfaccettature dall’interno (Decandia, 2000). DEFINIZIONI: 1) Strutture temporanee: il set degli spazi modificabili e allestiti temporaneamente in cui agiamo rispetto alle altre persone (le bancarelle dei mercati, i palchi e gli striscioni nelle feste, etc.) La scelta della loro disposizione è influenzata dalle strutture durevoli. 2) Strutture durevoli: l'insieme e la disposizione delle caratteristiche fisiche e ambientali in cui l'essere umano agisce (spazio fisico, temperatura, luce, oggetti materiali, norme legali, etc.) e che sono difficilmente modificabili. 3) Strutture agite: lo spazio che creiamo con e fra il nostro corpo e quello degli altri, singolarmente o associati, (i passi, i percorsi e i gesti previsti in un tipo di movimento rituale, la linea che percorro quando cammino, la distanza a cui mi posiziono dalle persone, le traiettorie dell’avvicinarmi agli altri, etc.). 4) Definisco un soggetto sincronizzato rispetto al contesto quando può regolare la propria azione rispetto ad esso, in base alla ricezione e comprensione di un alto numero di feedback. Intendo dunque il processo di sincronizzazione come l’insieme di azioni e regolazioni reciproche, che consentono ai soggetti di agire fra loro e/o con l’ambiente in maniera sempre più efficace, controllata e consapevole (Bateson, 2010, parte 6; Iacoboni 2008, p.156, Goffman, 2007, p47). INGLESE: A method to analyse and compare the different types of structures that different cultures build, organise and in-act to create meeting culture and their effect on community recostitution. A system to evaluate the effect of organized environment on social synchronization that start from a parallel between local traditional dance event and daily community spaces. A tool to link tangible and intangible cultural heritage of local community.

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24

Roy, Marie-Soleil. "Danser au monde : étude du mouvement dans l'espace textuel de Marguerite Duras." Thèse, 2014. http://hdl.handle.net/1866/11608.

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Peu d’études ont été faites sur le mouvement dans l’œuvre de Marguerite Duras (1914-1996). Or réécritures et répétitions qui marquent la pratique scripturaire de celle-ci permettent de penser des déplacements, des métamorphoses que cette thèse se propose de lire dans l’accompagnement de penseurs tels que Maurice Merleau-Ponty, Gilles Deleuze, Georges Didi-Huberman, et de manière plus spectrale, mais non moins essentielle, Jacques Derrida, Claude Lévesque et Maurice Blanchot. Le premier chapitre s’intéresse à « la marche-danse de la mendiante », qui prend place dans Le Vice-consul (1966). Le mouvement de perte de la mendiante se donne comme un procès de déterritorialisation sans fin où ne cessent d’opérer métamorphoses et devenirs. Cette dernière entraîne dans son rhizome des lieux où faire l’expérience d’un visible difficilement isolable de sa doublure d’invisible. Des lieux sont ainsi « créés » pour faire du « lieu dansé un espace dansant » (chapitre 2). On ne saurait cependant rendre compte du mouvement sans questionner « les rythmes de la danse » (chapitre 3) dont l’épreuve possède une puissance métamorphosante, particulièrement sensible dans L’Après-midi de monsieur Andesmas (1962). Mais le rythme est aussi ce par quoi s’ouvre le temps. Et le temps durassien plonge son lecteur aussi bien que ses personnages dans un univers où virtuel et actuel ne cessent d’échanger leurs forces. C’est alors la question de l’événement, de sa possibilité dans la rencontre et le crime, qui fait l’objet du « temps qu’entrouvre la danse » (chapitre 4). Dépositaire d’un étrange hiatus qu’elle suscite pour qu’un écart se creuse afin de dire l’événement, cette œuvre rêve finalement, à travers la langue, de l’événement inséparé dans le mouvement perpétuel du sens, dans « la danse du sens » (chapitre 5). Cependant, si le sens peut d’abord apparaître dansant parce qu’instable, il faut admettre qu’on tourne toujours autour de certains mots qui échappent. Quelque chose échappera toujours. C’est ce que le sixième chapitre, « Échappé(e) de la danse », appréhende, alors que le mouvement, qui n’a d’autre finalité que lui-même, inscrit un inachèvement perpétuel dont les réécritures témoignent. Parce qu’elle met en scène des êtres en mouvement dans une œuvre elle-même en mouvement, l’œuvre de Marguerite Duras permet de penser l’être-au-monde en danseur.
Few studies have been undertaken on movement in the work of Marguerite Duras (1914-1996). Yet, the rewritings and repetitions that mark her scripturary practice allow for the thinking of displacements, metamorphoses that the present thesis proposes to read in the company of such thinkers as Maurice Merleau-Ponty, Gilles Deleuze, Georges Didi-Huberman, and in a more spectral, but no less essential way, Jacques Derrida, Claude Lévesque and Maurice Blanchot. The first chapter is interested in “the dancing-walk of the beggarwoman”, which takes place in Le Vice-consul (1966). The movement of loss in the beggarwoman proposes itself as a process of endless deterritorialization in which metamorphoses and becomings are ceaselessly operative. The latter draws into its rhizome places in which having an experience of the visible is isolatable with difficulty from its invisible doubling. Places are thus “created” to make of the “danced place a dancing space” (Chapter 2). It would not, however, be possible to account for movement without questioning “the rhythms of dance” (Chapter 3), the ordeal of which possesses a metamorphosizing power, and is particularly sensible in L’Après-midi de monsieur Andesmas (1962). But rhythm is also that through which time is opened. And Durassian time plunges her reader as well as her characters into a universe in which the virtual and the actual tirelessly exchange forces. Thus does the question of the event, of its possibility in encounter and crime, which is the object of “time parted by dance” (Chapter 4). The depository of a strange hiatus aroused such that a distance can be excavated in order to speak the event, this work dreams, finally, through language, of the unseparated event in the perpetual movement of sense, in “the dance of sense” (Chapter 5). Nonetheless, if sense can first appear to be dancing because it is unstable, it must be recognized that one is always turning around certain words that escape. Something will always escape. That is what the sixth chapter, “Dance’s échappé(e),” apprehends, when movement, which has no finality other than itself, inscribes a perpetual incompletion to which the rewritings testify. Because she stages beings in movement in a work itself in movement, Marguerite Duras’s œuvre enables one to think the being-in-the-world as a dancer.

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Suljak, Mary. "Dance Competitions and Recitals as Collectively Accomplished Events: An Ethnographic Study of Amateur Dance." Thesis, 2010. http://hdl.handle.net/10012/4979.

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This thesis presents a qualitative analysis of organized amateur dance participation as an example of human group life. Organized amateur dance typically occurs within a studio or school setting and is differentiated from professional dance by the lack of monetary compensation provided to performers. Consequently, this thesis considers the dance studio as an arena for pursuing hobby-based interests and activities, as well as notions of providing entertainment as entertainment in and of itself. Using a symbolic interactionist theoretical perspective in conjunction with ethnographic methodology, this thesis analyzes the centrality of performance among amateur dance participants, related to group-based definitions of competitions and recitals as the most significant aspects of their dance involvements. By envisioning competitions and recitals as instances of coordinated activity, this thesis employs Prus’ (1997: 135) conceptual model for participating in collective events as a means of highlighting the processual quality characteristic of developing performance events. Further, this thesis uses Goffman’s (1959) conceptualization of team-based dynamics as a means of illustrating how meanings about the group, the activity at hand and the event being anticipated are created, negotiated and perpetuated in a group-based setting. Data obtained from the observation of dance groups as they prepared for and engaged in competitions and recitals as well as open-ended interviews with twenty members of the amateur dance community is used to illustrate the various stages of accomplishing performance events. This analysis begins with participant experiences in initiating events and becoming involved with them, followed by a discussion on how these groups prepare for, sustain and participate in performance events. While this thesis focuses predominantly on amateur dance involvements, it also provides a transcontextual analysis of the interactionist concept of the collective event, through comparisons with research conducted on groups based on activities other than dance. Through field data and these various comparisons, this thesis finds that working toward and participating in group-based ventures encourages the development of a team- based awareness and sense of purpose among the participants of a wide variety of activities. Because having a central focus and common awareness with regard to an activity is integral to the sustained commitments and involvements of participants, this thesis finds the interactionist notion of collective events to be a central feature of human lived experience.

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Arnolds, Hylton Howard. "Cultural heritage events : a case study of the ATKV Rieldans competition in South Africa." Diss., 2016. http://hdl.handle.net/10500/23224.

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Cultural heritage events as a tourism product have increased in recent years, both globally and in South Africa. Within the sphere of cultural heritage tourism, people construct and present their heritage and traditions to tourists in a reconstructed setting. To the visitors and people who are directly involved with the planning of the event, a sense of belonging and group identity are experienced by linking the present to the past in a celebratory mood. The annual ‘Afrikaanse Taal en Kultuurvereniging’ (ATKV) Riel Dance Competition in South Africa is an example of such an event, which celebrates a threatened cultural heritage in the form of a competition. The idea of a dance competition in order to preserve cultural heritage started in response to a feeling of marginalisation of culture among certain segments of the Coloured community of South Africa after the establishment of democracy in 1994. This dissertation used the constructivist-interpretivist approach in geographical enquiry to explain the role of cultural heritage events. Multiple sources of evidence and information were used in this study, including focus group interviews, observations, audio-visual materials, questionnaires and participant observation. The participants and visitors alike felt that the ATKV Riel Dance Competition serves an important role in preserving and protecting the cultural heritage of the Coloured community. The competition played a role in fulfilling the need of a large percentage of its participants and visitors for a group identity. There was no significant financial benefit for the communities who participated in the ATKV Riel Dance Competition. However, on a political level the competition played an important role in nation-building and cultural expression in South Africa.
Geography
M.A. (Geography)

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Wu, Pei-Hsieh, and 吳培協. "The Development of Taiwan Dragon Dance and Comparative Analysis the Skilled Events and Routines." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/zjf725.

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碩士
臺北市立大學
運動教育研究所碩士在職專班
105
The purpose of this study was to understand the development of the Taiwan dragon dance and obstructive factors and to compare the routines and skilled events. The author invited four artists who engaged in related work of dragon dance for the study participants. The method used in this study is known as semi-structured in-depth interview for summarization and analysis. The author has reached conclusion. Respondents' views on the development and obstraction of the dragon dance movement in Taiwan are as follows: The purpose of this study was to understand the development of the Taiwan dragon dance and obstructive factors and to compare the routines and skilled events. The author invited four artists who engaged in related work of dragon dance for the study participants. The method used in this study is known as semi-structured in-depth interview for summarization and analysis. The author has reached conclusion. Respondents' views on the development and obstraction of the dragon dance movement in Taiwan are as follows: 1. The development of the Taiwan dragon dance has moved from the folk temple culture towards the competitive movement, and the positive image has been promoted. 2. The development of the best to establish the approach to school for students, establish successful system, and enhance the international accomplishment of dragon dance. 3. Obstructive factors of the development include political factors, shortage of funds international events closed, not the Asian Games and Olympic Games official events, etc. 4. The most necessary to improve is resolve political factors and obtain government support, get rid of bad image, increase in the population of dragon sports, solve the employment issue, apply for sponsorship for holding international tournament. On the other hand, the differences between routine and skilled events development are analysed as follows: 1. Skilled events are easy to understand, attractive, and quick start .Accord with the Western sports competition elements, and help the promotion to the international arena. 2. Wulong routine is more visible and artistic. It has the benefits of cultural heritage. 3. The biggest difference is that the training mode and presentation form will also affect the time required for the game. But in the norms of the competition under the constitution, the competition will not be biased on the situation. 4. The development of routines and skilled events is complementary and does not have a negative impact, and they can provide players more opportunities to help the diversified development.

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Shea, Tusa. "Autonomy as a temporary collective experience: Anna Halprin's dance-events, Deweyan aesthetics, and the emergence of dialogical art in the Sixties." Thesis, 2012. http://hdl.handle.net/1828/3888.

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Focusing on the event-based work of San Francisco dancer and choreographer, Anna Halprin, this dissertation argues that relational art and aesthetics is an integral feature of modernism that can be traced to the emergence of dialogue in art practices of the 1950s and 60s. I argue that John Dewey’s pragmatist aesthetics provided Anna Halprin, and other artists in her circle, with a coexistent experiential site for art’s conception and production. This alternative aesthetic model was based on an embodied, holistic approach to aesthetic experience that was fundamentally different from the Kantian-based formalism articulated by Clement Greenberg. Uncovering this alternative aesthetic model matters, not only because it is a neglected tradition with contemporary theoretical resonance, but because it allows us to see that event-based art produced during the 1960s was not merely deconstructive; it also had a constructive social purpose, namely the modeling of temporary, non-totalizing communal experiences. I analyze this contingent collectivism through an anarchist lens, in order to demonstrate that anarchic principles and models of agency were enacted and kept operational in art communities, networks, and events and, furthermore, were supported by holistic philosophies grounded in concrete experience.
Graduate

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Monette, Katherine. "Retracer le changement de la répartition géographique d’une espèce grâce aux événements d’hybridation in situ." Thèse, 2018. http://hdl.handle.net/1866/22248.

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Dennill, Ingrid. "Stress as a source of injury among a group of professional ballet dancers." Diss., 2000. http://hdl.handle.net/10500/17996.

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Sport and dance injuries have increased despite improvements in coaching techniques and medical care. Other factors, including psychological ones, were therefore thought to play a role in injury vulnerability. Most of the attempts to explain how psychological variables can affect an athlete's predisposition to injury have been based on anxiety or stress concepts. In this survey type study an interactive approach to stress has been adopted with the goal of finding a relationship between stress and injury in a group of professional ballet dancers. No simple direct relationship was found. Multiple regression analysis was performed and a more complicated relationship between stress indicators and injury was found. When an attempt was made to investigate the significant interaction, no significant correlations were found. However, the correlations were found to be large and negative. This could indicate that if the sample size had been larger significant correlations may have been found.
Psychology
M.A. (Psychology)

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Dissertations / Theses on the topic 'Dance event'

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