Dissertations / Theses on the topic 'Dance movements'
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Ballardini, Anny. "Ghost Dance in 31 Movements." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/td/826.
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A kind of poetry that tries to understand contemporary social and philosophical issues as much as behaviors by rewriting in a poetic language the video artwork of some of the main representatives of modernism and postmodernism. Such poetry is deprived of confessional hues, any personal reference has to be ascribed to a mirroring effect by which the single person empathically absorbs and projects what is conveyed, be it stemming directly from the historical time of the artwork's making and inherited, or alive at the time of its actual viewing. By following a restructuring process started at the beginning of the twentieth century, the writing analyzes possible ways to outline developments or to underline breaking points. Poetry is seen as an active medium within the formation of societies characterized as it is by its highly introspective power, not restricted to the individual but open to all beings perceived as members of one entity.
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Quinn, Mallory Joanne. "Utilizing TAGteach to Enhance Proficiency in Dance Movements." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4751.
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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.
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Wilkinson, Marcy. "Movements of transformation and resistance reading dance in Shakespeare /." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1663116651&sid=4&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Jap, Lilian. "Mapping detected periodic dance movements to control tempo in the music playback of Electronic Dance Music." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-251668.
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Engaging in the music set of one’s favorite artist or DJ is oftentimes leading to the result of a powerful and euphoric felt experience, a sensation partly also induced from dancing in beat to the music. In an attempt to simulate a similar dance experience, a user-study was designed in order to investigate when a user is let to dance in rhythm to a music playback and in addition, in control of a music playback tempo through the induced dance movements. A proof-of-concept prototype was built and tested in an initial study, followed by a main study where the prototype had been modified and 12 participants participated. A questionnaire was given containing various question statements to be rated through a Likert-scale regarding their subjective experience. Open-ended questions were also included to collect their own opinions. From the results, an enhanced engagement and enjoyment of the music could be identified when being able to manipulate the tempo.Att engagera sig i ett musikset av ens favoritartist eller DJ leder ofta till resultatet av en kraftfull och euforisk känsloupplevelse, en känsla delvis framkallat av att man dansar i takt med musiken. I ett försök att simulera en liknande dansupplevelse undersöker denna användarstudie när en användare dansar i rytm till musik och dessutom är i kontroll av tempot genom de skapade dansrörelserna. En proof-of-concept prototyp konstruerades och testades i en första studie, följt av en huvudstudie där prototypen hade modifierats och 12 deltagare deltog. Ett frågeformulär gavs med olika frågor som skulle bedömas via en Likert-skala, med avseende på deras subjektiva erfarenhet. Öppna frågor ingick också för att samla deras egna åsikter. Från resultaten kunde ett ökat engagemang och en förhöjd njutning av musiken identifieras när man kunde manipulera tempot.
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Von, Hofe Erin Althea. "Circling the underground transnational movements in urban dances and literatures /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1872924421&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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James, Takema J. "Using Auditory Feedback to Improve Dance Movements of Children with Disabilities." Scholar Commons, 2015. http://scholarcommons.usf.edu/etd/5708.
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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.
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Giotaki, G. "Emergent movements : the role of embodiment and somatics in British contemporary dance." Thesis, Coventry University, 2015. http://curve.coventry.ac.uk/open/items/dddf2f58-70b8-4c9b-a3b8-8b4308208f50/1.
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This thesis explores somatic practices as a social movement by focusing on the relationship between embodiment, somatics and contemporary dance practices. It looks specifically to Body-Mind Centering® (BMC®) and traces an ethnographic history of the practice examining it as a post-modern western somatic method forming part of an international social movement. The research is grounded on post-structuralist dance anthropology and analyses BMC® as a “socially constructed movement system” (Grau 1993). Through experimentation, the somatic movement cultivates bodily awareness and an embodied sense of self. The thesis points to the ways in which the emphasis on embodiment may form a key component in this social movement and its relation to British somatic-informed dance. While providing the conceptual and historic context for experimentation in contemporary dance in Britain since the 70s, the thesis illustrates that New, and later, Independent Dance artists drew from BMC® as well as other somatic practices. It argues that the exploration of embodiment as a human attribute and lived phenomenon from a somatic perspective gave rise to a culturally distinct discourse of practice, known today as somatic-informed dance. It works to illustrate the nature of the new pedagogical approach that emerged and, specifically, the way this aspect of contemporary dance evolved as a result of the emphasis on embodiment and the somatic influence. To do so, the thesis identifies and analyses distinct principles and pedagogic tools employed through an anthropological perspective and ethnographic, historical and practice-led research methods. Further illustrating the way the concept of embodiment is understood in somatic informed dance pedagogy, it critically examines the claim that embodiment processes may re-educate dualist perceptions. It, thereby, argues that it is only in the experience of integration in the lived moment that the problem of dualism might be challenged. Through an investigation of lineage, the thesis situates BMC® and somaticinformed contemporary dance practice within the socio-cultural, artistic, conceptual and philosophical context in which they developed. Pointing to the parallel expansion of scholarly and artistic interest in embodiment over the past five decades, it demonstrates a permeability of bodies, places, ideas and culturally constructed movement systems. Overall, the thesis is underpinned by a critical engagement with the position that embodiment and experience form the existential ground for culture and self (distilled in Csordas’ 1994a), offering an analysis of BMC® informed dance practice as another source of data shedding new light to this insight. Capturing a moment in dance history with a synchronic investigation (Sahlins 1998), this research works to further contribute towards an understanding of a diachronic property of the formation of cultures. In line with Csordas’ position, it suggests that given their distinct approach to experientially gained corporeal knowledge and awareness, the emergence of ‘culturally constructed movement systems’ such as BMC® and somatic informed contemporary dance form a potential illustration of the way culture is existentially grounded on embodiment and experience.
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Beck, Kimberly Jean. "The Dance movements of Christian Flor in Lüneburg Mus. Ant. Pract. 1198." Thesis, University of Iowa, 2009. https://ir.uiowa.edu/etd/226.
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This is a study of the dance movements of Christian Flor including in Lüneburg Musica Antica Practica 1198. It includes a short biography of Christian Flor, a study of the French influences on Flor and the influence Flor had on his German contemporaries as shown through his dance movements. The final chapter is a critical edition of the dance movements.
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Codjoe, Ama. "Dance liberation: movements of freedom in the works of Pearl Primus and Rennie Harris." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1327350733.
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McLay, Grant A. "Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/109619/1/Grant_McLay_Thesis.pdf.
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This thesis explored ways of coding and reinterpreting physical movement data from sport to create movement responses within a choreographic practice context in the field of contemporary dance. The study consisted of the notation and analysis of the physical dynamics and sequential body patterns of the high impact sport of rugby union to inform and influence the creation of movement scores that resulted in the creation of a new contemporary dance work and contributed to furthering the knowledge, understanding and practice of choreographic approaches to dance.
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Svenns, Thelma. "SENSITIV : Designing for Interactive Dance and the Experience of Control." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280814.
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In the last decade, many studies and performances within the field of interactive dance have been made. Interactive dance means involving technology into the dance, which opens opportunities to execute a dance in another way than used to. The studies in the past have often involved manipulation of music, but not many studies seem to involve manipulating real-time music produced by a live musician. Hence, this study consisted of a musician and a dancer investigating in the co-play between the two artists through sensory technology in a project called SENSITIV. More specifically, the investigation focused on the input design, i.e. the placement and processing of the motion sensors, for an interactive system, and how the involvement of the sensory technology affects the dance. Inertia-based motion sensors were worn by the dancer, by which the real-time sound produced by the musician was manipulated through the movements of the dancer. This created in turn an interaction within the intermediate connection, where the dancer came to act as a co-musician. Two studies were conducted, where in the first study a prototype was developed and designed in a first-person perspective, and the second study tested the developed prototype on a larger group of dancers. The results showed that placement on the outer parts, such as wrist and ankles, were the most suitable. It was further found that for reaching a positive experience, in terms of feeling in control with dancing with sensors involved, it requires some time as having an understanding and knowledge of the system is needed.Under det senaste årtiondet har många studier och projekt gjorts inom interaktiv dans. Interaktiv dans betyder att involvera teknik till dansen, vilket öppnar upp många möjligheter till att utföra dans på annat sätt än vad man vanligtvis är van vid. Många av dessa studier har ofta involverat manipulation av musik men få verkar ha involverat realtidsmusik producerat av en live-musiker. Därför har denna studie utförts tillsammans med en musiker och dansare för att undersöka samspelet mellan dessa två parter genom sensorteknik i ett utformat projekt kallat för SENSITIV. Mer specifikt så har undersökningen haft fokus på input-designen, dvs. placeringen och bearbetningen av sensorerna, för ett interaktivt system, samt hur involveringen av sensorteknik påverkar dansen. Rörelsesensorer var burna av dansaren som på så vis kunde genom sina rörelser manipulera realtidsmusiken som var producerad av musikern. Detta skapade i sin tur en interaktion i den mellanliggande förbindelsen, där dansaren kom att agera som en medmusiker. Två studier var uppförda där den första hade fokus på att utforma och utveckla en prototyp ur ett förstapersonsperspektiv, medan den andra studien hade fokus på att testa prototypen på en större grupp av dansare. Resultaten visade att placering av sensorer på de yttre kroppsdelarna, så som armar och ben, var mest lämpligt. För att nå en positiv upplevelse i termer av att känna kontroll med att dansa med sensorer, visade det sig att denna prototyp krävde mer tid att bli utforskad då en förståelse och kunskap av systemet behövdes.
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Martínez, Rosalía. "Music, movements and colors in Andean fiesta. Bolivian examples." Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/79171.
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En la fiesta andina, la música suele tanto oírse como verse. Esta dimensión multisensorial de la situación musical no es únicamente el resultado de una yuxtaposición de elementos sonoros y visuales. el análisis de las articulaciones que los campesinos indígenas de la zona de sucre (Bolivia) construyen entre sonidos, movimientos y colores revela la presencia de organizaciones singulares de la experiencia sensible que se caracterizan tanto por su espesor sensorial como por la manera en la cual se encuentran conectadas con otros campos del conocimiento. Estas formas de intersección culturalmente elaboradas implican el cuerpo mismo de los músicos, generando nuevas configuraciones perceptivas.In the Andean fiesta music is as much intended to be seen as it is to be heard. The multisensorial aspect of musical performance is not just a matter of the juxtaposition of sounds and sights. The analysis of the articulations that indigenous peasants of sucre (Bolivia) construct among sounds, movements and colors reveals an original organization of sensitive experience that is as much characterized by its sensory depth as it is by the ways it is linked to other domains of knowledge. The forms of culturally elaborated intersections that occur in the body of the musician lead to new perceptive configurations.
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Weege, Bettina [Verfasser], Bernhard [Akademischer Betreuer] Fink, and Lars [Akademischer Betreuer] Penke. "Social Perception of Dance Movements : Investigating The Signalling Value Of Male Body Movements Using Motion-Capture-Technology / Bettina Weege. Betreuer: Bernhard Fink. Gutachter: Bernhard Fink ; Lars Penke." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2015. http://d-nb.info/1077648499/34.
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Castro, Edward A. "Imitation of an innovator : a comparative analysis of Agon by Igor Stravinsky and Dance movements for brass quintet by David Snow /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11326.
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Henson, Sändra Lee Allen. "Dead bones dancing : the Taki Onqoy, archaism, and crisis in sixteenth century Peru /." [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0320102-105954/unrestricted/HensonS041102a.pdf.
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De, La Torre Krista. "Social Movements and Environmental Law: A Case Study of Politically Disenfranchised Communities in Ecuador and Argentina." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/cmc_theses/1849.
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Despite their progressive on-the-books environmental legislation, Ecuador and Argentina have hosted increasing amounts of extraction projections in their borders over the last few decades. Beyond increased environmental degradation, the expansion of extraction economies in these countries has drove mass scale social movements orchestrated by disenfranchised peoples. This thesis investigates the link between social movements and environmental law reformation, and whether such social movements are able to strengthen the national legal and institutional framework for environmental management. To evaluate this inquiry, this thesis explores socials movements in Ecuador in the late twentieth century and in Argentina in the early twenty first century.
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Shaw, Charlotte. "Buying a balance : the 'individual-collective' and the commercial new age practices of yoga and Sufi dance." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a1fc05ce-7df5-4229-862a-132bbed153de.
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The individual's experience of inner authority takes centre stage in the majority of scholarship on New Ageism, with many writers highlighting this theme as a defnitive characteristic of the spiritual culture. The aim of this thesis is to explore this topic and to ascertain the place of the individual and the collective within two commercial New Age feld sites in London. The qualitative data which lead this investigation were collected from a yoga centre called Shanti and a Suf dance organisation called the Suf Order. From this data, the thesis identifes an individual-collective dialectic, one which manifests in particular forms and with divergent orientations; the result is a multiplicity of types of individualisms which include collective forces. The study makes the case for this argument by focusing on four modes in which, at both sites, the individual and the collective co-produce each other. One, the (collective) class culture of the practitioners informs and is informed by the (individual) ideologies of self that the informants assert. Two, the (collective) capitalist context of the organisations infuence and are perpetuated by the ways the (individual) representatives of those organisations express themselves. Three, (collective) shared principles regarding 'positivity' and 'energy' enforce and are sustained by the (individual) feelings of the student. Four, the (collective) communities of practitioners depend on and contribute to the (individual) set apart status of the teacher. These four manifestations of the individual-collective dynamic appear with different orientations in each feld context; in all versions and in both settings, individual and collective are both present and mutually- constituting forces, but at Shanti the dialectics lean more towards the personal and at the Suf Order, the 'same' dialectics lean more towards the social. Each organisation refects and adds to the intersections, both in their forms and their orientations. In so doing, the two New Age centres present divergent balances of the individual-collective dynamic that correlate with the personal and social dispositions of their respective student bodies.
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Craycraft, Jeremy L. "William Russell's Percussion Ensemble Music, 1931-1940." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305820085.
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Lavelle, Lise. "Amerta movement of Java 1986 - 1997 : an Asian movement improvisation /." Lund : Centre for Languages and Literature, Lund Univ, 2006. http://www.loc.gov/catdir/toc/fy0701/2006402578.html.
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Stathopoulou, Dimitra. "From dance movement to architectural form." Thesis, University of Bath, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538117.
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Smith, Gavin W. "An examination of major works for wind band and percussion ensemble : Spring wind -- weather movement I and Storm warning and dance -- Weather movement II by Steve Riley, Prelude op. 34, no. 14 by Dmitri Shostakovich and Tempered steel by Charles R. Young." Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/299.
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Saraogi, Avantika. "Art and Dance: Sediments, Segments, and Movement." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/302.
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Art and Dance: Sediments, Segments, and Movement (A&D) is a series of photographs that studies dance movement, with the added element of flour to exaggerate and exhibit motion. A&D captures the different styles of dance out of their usual context, so that the actual movement becomes the central focus. This paper on the other hand provides the academic foundation for the artwork. It traces the history of dance photography as a genre. It not only sheds light on the photographic techniques that were used, but also how dance photography has evolved as an art form in its own right. The paper also presents my inspiration for the project and explains how those sources have influenced my images.
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Shastri, Devdutt. "Dance of architecture : choreographic and architectural movement." Thesis, Cardiff University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.584890.
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The aim of this thesis is to develop a theoretical framework that is based on the body and on the theme of Movement, for the analysis, interpretation and creation of Architecture. My research pro poses that Movement rather than Form may be the way forward for Architecture. A theory that is based on the experience and perception of Movement, requires a Movement-focused re-search of Architecture, and is furthered by examining the discipline that is primarily concerned with the design of human movement in space, namely Choreography. My central argument, therefore, is that there is sufficient commonality between the process of creating Architecture and that of Choreography to warrant examining principles of the latter, to advance our knowledge of the former. The term 'movement' can conjure different associations and so it is necessary to define the scope of the term as it pertains to the research at hand. This study identifies five treatments of Movement: Pictorially Affective, Literal, Animated, Choreographed and Ex pressed, which are subsets of three broad categories based on the movement of: 1 - people in space: P, A, C 2 - the building (actual) : L 3 - the building (implied) : E The thesis a) critiques the historiography of Architecture from a movement-themed perspective, and provides a brief over view of Choreographic theories about Movement, b) uses photographs, video and other digital media as tools to analyse both Architecture and dance Choreography, interpreting the treatment of Movement in Architecture, according to P/L/A/C/E and, lastly, c) the thesis explores a syncretic approach towards the making of a movement-based Architecture, informed by Choreography. Video capture and editing are among several methods explored in order to study the design of movement in an architectural con text, evidence of which is presented on an accompanying DVD.
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Du, Plessis Nicolette. "A critical review of contemporary dance/movement therapy." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002367.
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This critical review aims to describe and define the field of dance/movement therapy. Attention is paid to central issues in psychology and dance studies which influence the advancement of the modality. Dance/movement therapy is a young profession, developed during the second half of this century, and must be viewed within the socio-cultural context of contemporary western industrialized societies. This work therefore firstly documents the development of dance/movement therapy in the light of recent studies into the nature of bodily expression and non-verbal communication. The phenomenological understanding of the human body is discussed, and the concept of bodyliness proposed in order to encapsulate a multi-dimensional understanding of the meanings of the human body. Dance/movement therapy is then delineated in relation to verbal psychotherapeutic traditions, as well as to the more marginalized body therapies. In this way it is hoped to provide an understanding of the historical precedents and theoretical contexts within which dance/movement therapy is emerging, and ultimately the possibly unique alternative service it may provide. As wide a variety as possible of theoretical approaches in dance/movement therapy is then described, and classified according to the predominant psychological orientation of the proponents. From this a critical review is attempted which is directed broadly at foundational considerations of the profession, rather than at any particular methodology. The enquiry focusses on directions for future possible research which will ensure sound theoretical frames of reference for the developing profession. Discussion of two examples of dance being used in the therapeutic context in South Africa concludes. This section is not a judgmental evaluation of techniques, but intended rather as documentation and broad classification of current work of this nature.
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Jones, Joy Shalee Hannah. "A movement toward wholeness exploring dance in the faith community /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.
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Fournié, Fanny. "Danse, émotions et pensée en mouvement : contribution à une sociologie des émotions : le cas de Giselle et de MayB." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENH032/document.
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Ce travail propose une réflexion menée à la croisée d'une sociologie des émotions, objet principal de la recherche, et d'une sociologie de l'art. En effet, la représentation d'un ballet romantique, Giselle, de Jules Perrot et Jean Coralli et d'un ballet contemporain, MayB, de Maguy Marin, forme le terrain de l'enquête. L'enjeu de l'analyse a consisté à rendre visibles les différents mouvements des émotions, à l'œuvre lors d'une soirée chorégraphique. D'un côté, le mouvement des danseurs sur la scène, qui, s'appuyant sur la technique corporelle, mais aussi la musique, le récit, les costumes et les décors, confectionnent les émotions. D'un autre côté, le mouvement des pensées, visibles chez les danseurs comme chez les spectateurs, à travers une sorte de dialogue intérieur participant à la fabrication des émotions individuelles. Enfin, le mouvement collectif des émotions échangées entre les danseurs et les spectateurs, dans un va-et-vient permanent, nécessaire à la construction de la matière chorégraphique. La méthodologie, qualitative, a été constituée de manière à saisir les différents temps de cette confection émotionnelle. Les observations directes, réalisées durant les répétitions, permettent de saisir, en amont, comment une technique de danse fabrique les émotions. L'observation participante lors des spectacles offre l'illustration, intime, du vécu corporel et émotionnel d'un spectateur : le ballet devient expérience, les spectateurs, acteurs de la soirée en train de se faire. Enfin, les entretiens, réalisés auprès des danseurs et des spectateurs, fournissent une matière sensible à la réflexion, tournée vers une sociologie compréhensive. Au final, la thèse présente les émotions comme « le corps » des relations sociales. Au travers elles, les individus se saisissent les uns des autres, soulignent leurs différences ou leurs similitudes, s'adaptent ou non au groupe, selon la « prise » ou la « déprise » des émotions du ballet sur euxThis study stands at a crossroads between a sociology of emotions – the main focus of our research – and a sociology of art. The survey here presented is grounded in two dance performances, the romantic ballet Giselle, by Jules Perrot and Jean Coralli on the one hand, and on the other hand, the contemporary dance performance MayB, by Maguy Marin The point of this analysis was to bring out the various movements of emotion at play in the course of a choreographic performance. First, I have studied the dancers' movements on stage, which, while resting on the body's technique as well as the music, the story, the costumes and the decors, participate in the making of emotions. Second, I have delved into the movement of thoughts, perceptible in the dancers and in the audience, via a kind of interior dialogue which takes part in the making of various emotions. Last but not least, I have looked into the collective and continuous flow of emotions moving back and forth between the dancers and the audience, and which is necessary for the construction of choreographic material. The methodology here used is a qualitative one, aiming to grasp the various moments in the making of emotions. Direct observations carried out during rehearsals allow for a prior understanding of how a dance technique can create emotions. Participatory observation during the performances grants an intimate illustration of the physical and emotional response of a spectator: the ballet becomes experience and the spectators become actors of the evening in the making. Finally, the audience and dancers' interviews offer food for thought, building towards a comprehensive sociology. In the end, this thesis presents emotions as “the body” of social relationships. Through them, individuals take hold of one another, underlining their differences or similarities. They adapt to the group or they do not, depending on the hold the emotions of the ballet may have on them
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Greyling, Eduard. "Benesh movement notation : African dance application : [part 1]." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7842.
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It is important that scholars not only research African dance culture but that we find new ways to gather information. It is a formidable task but one that must be undertaken if we are to ever document as many of the dances as possible to increase out knowledge and expand our appreciation of African dance (Glendoal Yhema Mills, 1996). The full use of Benesh Movement Notation in recording African dance is long overdue. This syllabus is a notation handbook to be used in the African dance notation lectures by students majoring in African dance. It comprehensively constitutes the most important aspects of Benesh Movement Notation (BMN) affecting African dance notation at a beginners level. It will therefore serve as the introduction and hopefully an inspiration to a much more involved study of BMN.
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Kim, Sue In. "Naming Movement: Nomenclature and Ways of Knowing Dance." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/110764.
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DancePh.D.
This study examines dance terminologies and documentation of Korean and French court dances, Jeongjae and Belle Dance, respectively. For Belle Dance, Raoul Feuillet's Chorégraphie (1700) and Pierre Rameau's Maître à Danser (1725) provide lists of movement terms, definitions of them, and instructions for how to enact them. For Jeongjae, Jeongjae mudo holgi, written in the nineteenth century, comprises diagrams and descriptions of dance movements. These sources have their own ways of converting dance movement into language, revealing the divergent perspectives toward body movement in each culture. Their divergent modes of documenting dance demonstrate the characteristic ways of expressing and constructing knowledge of body movement of their historical and cultural contexts. By comparing the terminologies and documentation that carry historically and culturally specific concepts, I explore underlying assumptions about what kinds of information are considered knowledge and preserved through articulation in words and graphic symbols. This study addresses the research question, what do dance terminologies and processes of documentation suggest about perspectives on dance movement in two distinct dance cultures. To articulate the differences, this study examines selected documents as a whole and dance terms in specific. The significance of characteristic features found in the textual analysis will be illuminated through an exploration of intertextual relationships between the dance texts and important sources of the period that focus on the body and how it is conceived in relation to the human being. This study suggests that, dance documents, which translate selected aspects of dance movement into words and graphic symbols, encapsulate historically and culturally specific ways of knowing dance movement. Intending to capture movement analytically and visually, Belle Dance treatises attempt to establish objective knowledge of dance. This mode of knowing corresponds to philosophical and practical milieus that constructed the theory of mind-body dualism, mathematical foundations of modern science, and reliance on sense perceptions. In contrast, Jeongjae documents take the performer's experience as the standard point of view, considering his or her inner experience as well as observable results of movement. Correspondingly, Korean traditional culture adhered to a holistic view of the body and promoted implicit expressions to describe body movements.
Temple University--Theses
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LaVita, James A. "Theorizing dance practice : toward an ethnography of movement /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.
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Spalink, Angenette M. "Loie Fuller and Modern Movement." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277060256.
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Hooper, Colleen. "Public Movement: Dancers and the Comprehensive Employment Training Act (CETA) 1974-1982." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/372703.
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DancePh.D.
For eight years, dancers in the United States performed and taught as employees of the federal government. They were eligible for the Comprehensive Employment and Training Act (CETA), a Department of Labor program that assisted the unemployed during the recession of the late 1970s. Dance primarily occurred in artistic or leisure contexts, and employing dancers as federal government workers shifted dance to a labor context. CETA dancers performed “public service” in senior centers, hospitals, prisons, public parks, and community centers. Through a combination of archival research, qualitative interviews, and philosophical framing, I address how CETA disrupted public spaces and forced dancers and audiences to reconsider how representation functions in performance. I argue that CETA supported dance as public service while local programs had latitude regarding how they defined dance as public service. Part 1 is entitled Intersections: Dance, Labor, and Public Art and it provides the historical and political context necessary to understand how CETA arts programs came to fruition in the 1970s. It details how CETA arts programs relate to the history of U.S. federal arts funding and labor programs. I highlight how John Kreidler initiated the first CETA arts program in San Francisco, California, and detail the national scope of arts programming. In Part 2 of this dissertation, CETA in the Field: Dancers and Administrators, I focus on case studies from the Philadelphia, Pennsylvania and New York, New York CETA arts programs to illustrate the range of how dance was conceived and performed as public service. CETA dancers were called upon to produce “public dance” which entailed federal funding, free performances in public spaces, and imagining a public that would comprise their audiences. By acknowledging artists and performers as workers who could perform public service, CETA was instrumental in shifting artists’ identities from rebellious outsiders to service economy laborers who wanted to be part of society. CETA arts programs reenacted Works Progress Administration (WPA) arts programs from the 1930s and adapted these ideas of artists as public servants into the Post-Fordist, service economy of the 1970s United States. CETA dancers became bureaucrats responsible for negotiating their work environments and this entailed a number of administrative duties. While this made it challenging for dancers to manage their basic schedules and material needs, it also allowed for a degree of flexibility, schedule gaps, and opportunities to create new performance and teaching situations. By funding dance as public service, CETA arts programs staged a macroeconomic intervention into the dance field that redefined dance as public service.
Temple University--Theses
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Cholod, Kirsten L. (Kirsten Lynn). "Children's causal attributions for performance in creative dance and folk dance." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22574.
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This study investigated children's attributions for their performance in creative dance and folk dance. Eighty-six grade 5 and 6 children from a suburban elementary school participated in five creative dance and five folk dance lessons as part of their regular physical education program. After participation in each dance type, children completed a questionnaire which assessed their perceived success and attributions for their performance. After rating their perceived success in creative/folk dance, children gave an open-ended attributional statement for their performance, and then scored their statement along the four causal dimensions (personal control, locus of causality, stability, external control) (Weiss, McAuley, Ebbeck, & Wiese, 1990). Thirteen dance lessons were videotaped and the teacher's behavior was analysed. Results showed that children in both creative and folk dance tended to: (a) perceive their performance as successful, and (b) make functional attributions by attributing their performance to factors which they perceived as being personally controllable, internal, and not under the control of other people. Results indicated no significant effects of dance type or gender for perceived success and the four causal dimensions. However, two significant effects were found for grade, as the grade 5's perceived their performance to be more successful than the grade 6's, and also attributed their performance to factors that were less under the control of other people. Results from children's open-ended attributional statements and the observational recordings of the teacher's behavior supported the notion that creative dance and folk dance are two distinct forms of dance. The overall results appear to have positive implications with respect to the influence of creative dance and folk dance on the motivation of children. The findings therefore support the inclusion of dance in elementary physical education programs.
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Merrill, Cecily P. "Embodied communication : visually representing movement /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/232.pdf.
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Collard-Stokes, Gemma. "Dissolving borders : the integration of writing into a movement practice." Thesis, University of Wolverhampton, 2017. http://hdl.handle.net/2436/620899.
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This thesis theorises the practice of three female British dance artists, Miranda Tufnell, Helen Poynor and Hilary Kneale. It engages with the central idea that a combined practice of creative writing and movement improvisation enhances the artist's articulation and assimilation of the experience of dance, consequently developing a deeper connection to the experiences of the body in relation to one's environment. Refuting common perception that the inadequacy of language fails to embody the experience of dance, I argue that the approaches used by these women contribute to a distillation of experience thus revealing the essence of movement. Importantly, it focuses on practices that have been born of the feminist consciousness that facilitated the development of both British postmodern dance and women's writing since 1970. As a result, I utilise Elizabeth Grosz's notions of freedom and writing otherwise, and David Abram's Merleau-Pontian ideas on participation to underpin theoretical endeavours. Fieldwork, in the form of interviews and the participation in/observation of various performances, workshops and training programmes, run by each of the dance artists studied, is presented. The development of my own practice resulting from these enquires is documented, analysed and appraised throughout the thesis. The Introduction outlines research questions addressed and methodological approaches undertaken before considering the historical context of each artist's unique practice. Each case study is preceded by a chapter that identifies biographical circumstances, creative choices, and socio-political conditions that have influenced the careers of these dance artists. The function of writing as a bridge between the subjective embodied experience and objective analysis of that experience is examined alongside an assessment of the scope of each practice as a method of harvesting a [re]connection with nature and its power to generate self-affirming stories. Finally, the conclusion offers thoughts on the difficulties of such an endeavour within the framework of contemporary thought that maintains its stance on the split between [body]dance and [mind]written language.
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O'Sullivan, Paul T. "Lost in translation: Making sense of dance through words." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/44.
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The aim of this paper is to enter into the debate about meaning and movement and challenge the idea of dance as linguistic communication. Without words, and even with words according to some linguistic theorists, it's not possible to make sense unless we come to an agreement about a set of shared concepts. This is difficult in dance, an art form that has been silent, but undergoing evolutionary change for a large part of its history. I take the point of view that performance movement is even more arbitrary than text as a form of signification. We can read words prescriptively. We agree what a word means and what concepts a word might refer to. But even then in the combination of words we can interpret meaning differently. Even words can be confusing. We are forced at times in conversation in our first or 'natural' language to ask: "What do you mean?" So how can dance be read - when there is little semantic agreement about what a gesture, or a dance step might mean? Maybe we can't read dance. Perhaps what we read, and the only thing we can read, are the words, embedded, attached, contained, and generally surrounding the movement because we are verbal creatures. We can read words easily, after gaining an education, but reading nonverbal communication is fraught with difficulties and misunderstandings.
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Riskin, Seth. "Light Dance : light and the nature of body movement." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/46405.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.Includes bibliographical references (leaves 37-39).
Light Dance is a conscious transfiguration of the body, its movement and the encompassing space; a transposition of matter to light exalted in the dance. This corresponds to the conceptualized spirit of the performer whose body is "consumed" by light. A transposition occurs between the performer and audience. The audience experiences the dissolution of the body into light. In this thesis I assemble fragments of visible and inner light experiences and concepts of the body by an intuition of the spirit . The purpose is to equate visible and inner light. The writing is based on light as the physical self of the spirit; the significance of the body and movement. Specific examples are cited to create a contextual fabric for the inspired design of Light Dance.
by Seth Riskin.
M.S.V.S.
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Maas, Penny. "A Pedagogical Perspective on Storytelling through Movement and Dance." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2721.
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Dance in most musical theatre is an assumed visual element and something that is often taken for granted in production. What is its purpose is the question being pondered in this paper. Since Agnes de Mille first presented her legendary dream ballet in Oklahoma! in 1943, theatrical dance has never been the same. She revolutionized the function of dance in theatre forever. No longer would dance merely be used as interludes or divertissements. Though a seemingly simple theatrical concept, to use movement and choreography to either further the plot or to communicate a character’s journey, it is not only much easier said than done, it is also less commonly occurring than one would imagine. Dance for dance’s sake is still prevalent and the theatre suffers because of it. My thesis will be a journey paper reflecting on my teaching perspective as it has developed and changed based on my two years at Virginia Commonwealth University. I will look at the specific productions and classes I have been involved in and how they have all contributed to and shaped my emerging pedagogical philosophy regarding dance, choreography, direction and teaching. I will explore and prove the importance and necessity of “storytelling through movement” as well as explore the need for a clearly communicated goal and unifying element in all theatrical productions.
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Kieft, Eline. "Dance, empowerment and spirituality : an ethnography of Movement Medicine." Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/dance-empowerment-and-spirituality-an-ethnography-of-movement-medicine(37601d43-dd3c-498f-88a4-8e2c0004360f).html.
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This thesis offers the first anthropological description of Movement Medicine, a contemporary movement meditation practice that blends together and is informed by different ingredients such as ecstatic dance, shamanism, voice work, and psychotherapeutic elements. Both the practice and the thesis emphasise movement, relationship with self, others and the world, ritual and ceremony. My argument is that the combination of different traditions that inform the practice, together with its metaphoric language and use of a variety of symbols opens different ways of viewing and managing life processes, so contributing to experiences of expanded consciousness and a sense of reconnection. The dance enables an integration of opposites and the creation of a new frame of meaning or reference. The motivation behind this study is a curiosity about people’s search for meaning and (self-)understanding in western culture at this time. With the decline of traditional religious frameworks, the focus of this search has changed, leading to the remarkable rise of so called alternative spiritualities. Having danced all my life and being a Movement Medicine participant myself, I am particularly intrigued by the role that dance can play in dealing with the increasing demands of a fast and often fragmented world. Through a combination of hermeneutic and ethnographic methodologies, which include over five years of participant observation, 25 qualitative interviews and analysis of 190 articles in three volumes of the ‘School of Movement Medicine’s’ newsletter, I provide an analysis of people’s experiences to elucidate the mechanisms and contributions of this practice to the participants’ wellbeing, their personal growth and their experience of spirituality. In the first part of the thesis (Introduction, and Chapters 1, 2, 3 and 4), I situate the practice within the socio-historic context of growth movements that have emerged since the 1960s, and explore the background of Movement Medicine, its 9 ‘philosophy’ and symbols, aspects regarding the ‘School of Movement Medicine’ as a business, and the relation of the practice to other traditions and world views such as (neo-)shamanism and New Age. This also includes a detailed description of the practice in Chapter 4. After a brief Intermezzo, in the second part of the thesis (Chapters 5-8) I discuss the empirical data, describing how, according to participants, Movement Medicine contributes to personal growth and wellbeing in the areas of body, emotions, mind and spirituality. Through this dance practice, people are able to experience anew their own embodiment and connection to others, and this has an empowering, healing and transformational impact on their sense of self. The insights gleaned through the practice do not remain within the confines of the studio but are integrated into participants’ daily lives in multiple ways, contributing to changes with regard to the body, self, relationships, work, values, actions and spirituality. The thesis contributes to understanding what can constitute meaningful, transformative experiences and therefore has a wider relevance. It presents not just another example of the rise of alternative spiritualities and the continued search for meaning in western culture, but develops this understanding in a way that might also be applied to and implemented in settings such as schools, community centres and social care work, helping people deal with the demands of contemporary culture in a variety of situations.
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Riggs, Leyva Rachael. "Dance Literacy in the Studio: Partnering Movement Texts and Residual Texts." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420672347.
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Acaron, Rios Thania. "The practitioner's body of knowledge : dance/movement in training programmes that address violence, conflict and peace." Thesis, University of Aberdeen, 2015. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=229434.
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This interdisciplinary thesis examines the role of dance/movement in training programmes, which address peace, violence, conflict and trauma. Despite the growing literature and scholarly interest in embodied practices, few training programmes address dance/movement peace explicitly, identify shared beliefs or make connections between movement behaviour and decision-making. The research questions explore how dance/movement trainers experience, implement and conceptualise embodied processes that enable the transformation of conflict, particularly concerning interpersonal and/or intergroup violence. In order to investigate this question, an 'internal' analysis of relations and practices amongst its practitioners progresses to an 'external' analysis of contributions to arts-based peace practices and peacebuilding. Twelve semi-structured interviews were conducted with experienced trainers working internationally who use artistic, therapeutic and educational approaches to peace practices. The practitioners' curricula and training materials were examined using thematic analysis and qualitative analysis software (NVivo). The data analysis results in a map of shared beliefs, positionality and boundary shifts amongst the respondents, and proposes an exploration of practices applicable to multiple settings and client groups. This thesis presents new research in Communities of Practice (CoP) theory with artistic communities. It also deepens previous research on dance/movement peace practices and movement analysis, which sustains peaceable and violent actions can be understood through conscious and/or unconscious movement decision-making processes. The thesis concludes that embodied processes involve reflexive and enactive interventions, and proposes analyses of spatial relations, symbolic enactment and relational nonverbal interactions as key contributions of dance/movement. These embodied processes challenge 'conventional' forms of knowledge transmission and the arts' constant pressure for legitimisation. The thematic exploration of shared practices and beliefs therefore integrates movement analysis and social theory to present an interdisciplinary contribution to embodied analyses of violence.
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Williams, Sophia Mary. "Foundations to a holistic understanding of human movement and dance." Thesis, Institute of Education (University of London), 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.420079.
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Honisch, Juliane Jacqueline. "Dance ensemble synchronisation : movement timing between two or more people." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3404/.
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Dancers’ need to be coordinated in an ensemble poses multisensory challenges. The present thesis focuses on temporal aspects of visually mediated interpersonal synchronisation in dance, emphasising feedback control, using an information processing perspective. The thesis firstly reviews previous literature on psychological factors in the coordination of dance (Chapter 1). Measurement methods and analyses to examine timing of dancers’ interpersonal synchronisation are then introduced(Chapter 2). In the first two experimental chapters (Chapters 3, 4) a lead-follower paradigm is developed to quantify the temporal linkage between two or more individuals. Performer interdependence was estimated using mean, variance and serial correlation measures. Chapter 3 evaluates multimodal (auditory and visual sources) and Chapter 4 unimodal (two visual sources) on individuals’ synchronisation performances. In Chapter 5, dancers’ interpersonal synchronisation and the effect of visual and sensorimotor familiarity were investigated. Findings suggest that more familiar dance poses increase synchronisation accuracy. Chapter 6 examines firstly, the potential role of an internal forward model in visually mediated synchronisation and secondly, the effect of topdown modulation in interpersonal synchronisation. In summary, the paradigm and methods of this thesis provide new ways of exploring dance ensemble synchronisation.
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Shresthova, Sangita. "Strictly Bollywood? : story, camera and movement in Hindi film dance." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/39161.
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Filmography: leaves 85-86.Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2003.
Includes bibliographical references (leaves 86-95).
Film dances, or filmed dance sequences accompanying film songs, are an important part of popular Indian cinema. Over the years, Hindi film dance has evolved from a cinematically simplistic, filmed documentation of performance traditions, to a recognized and increasingly respected dance category emulated in staged performances in India and abroad. Despite their significance, dances in Indian popular films have not been systematically analyzed, and their movement, history, cultural influence and migration remain largely unexplored. The ubiquitous presence and under-theorization of film dances raises many questions about why these dances emerged as key ingredients of film, how their production, dance and cinematic content has evolved over time and, finally, how these dances are received and reinterpreted by audiences outside India. The objective of my investigation here is to set the foundation for an analytical framework for understanding dances in popular Hindi films. Using the relationship between dance sequences in films and their re-staging as Bollywood dances at South Asian cultural shows as a point of departure, I explore the analytical challenges of exploring dances in Hindi films as a first step towards a larger study of the cyclical migration of these dances to be conducted at a later date. My rather formalist approach to Hindi film dances provides a foundation for investigating these dances in way that will allow me to expand on this research in the future. Most importantly, however, I believe my approach to Hindi film dances enables me to explore "Bollywood dance" as a site of reception of Hindi film dances as they move from films to stage.
by Sangita Shresthova.
S.M.
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Payne, Helen. "The experience of a dance movement therapy group in training." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10019149/.
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This thesis explores the experience of a dance movement therapy group as part of a post graduate diploma course in higher education. The prime focus is the students' perspective of the group training as preparation for their subsequent role as dance movement therapists in practice. The research follows a group of seven students through a two year dance movement therapy group experience using an action research methodology in a collaborative mode. Through a series of systematic, planned, in-depth, semi-structured interviews, it uses the students' own account of the experience and correlates this with their practice as trainees. The third and final year fieldwork explores, from the students' perceptions, the way such an experience is integrated into eventual practice. The thesis is grounded in a literature review drawn from the psychotherapy, counselling and arts therapies fields. An international survey of training organisations for the arts and psycho therapies provides significance of the group experience in the training of arts therapists. The major conclusion is that although group experience in dance movement therapy is crucial for the training of dance movement therapists it requires extremely sensitive handling to cope with the feelings of loss, anger, grief and struggles with models of practice. There are, in addition, many difficulties experienced in learning to be a group as well as an individual within the group. The issue of authority in particular, which is central to any course in higher education, has to be carefully worked through for these students. The thesis concludes with recommendations for curriculum development in the post graduate training of dance movement therapists and allied professions.
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Bradley, Katie Claire. "Choreographing Cabaret: A Guide to Storytelling through Dance and Movement." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/816.
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American Musical Theatre is one of the unique American methods of storytelling that exists in performance. In a musical, text, song, movement, and dance tell a story. In Music Theatre, when a character can no longer express what they desire in words, they sing. If singing cannot satisfy the need, the element of dance comes into play. Richard Kislan states, "What sets dance apart is the universality in movement and gesture which is not bound like language to nationality or culture. Dance transcends geography in a way that language cannot. Dance humanizes expression in a way that music cannot."(237) In American Musical Theatre History, dance was, at first, purely used for dance sake. The spectacle of dance was the interest of the public. Choreographers George Balanchine and Agnes De Mille helped to change dance in music theatre, by using dance numbers to further the plot of the story. They believed a musical number should enhance the tone, energy, and rhythm of the entire piece. Influenced by my mentors at VCU, I have discovered the important lesson of "telling a story." A musical number needs to take the audience on a truthful and emotional journey and aid in the flow of the play. Through the many projects that I have worked on with Patti D'Beck, I have learned a way to choreograph that is efficient and, to me, the best way to go about revealing a story to the audience. Using the musical Cabaret, I will highlight these important steps. I was the associate choreographer for the VCU Mainstage production of Cabaret. I assisted in all pre- production work and aided in the creation of all musical numbers. As part of my thesis, I was also in charge of teaching the choreography to all who were involved in the musical. Spacing and polishing the musical numbers once we arrived in the space was also a part of my job as the associate choreographer.The first part of this thesis is a guide for those who have an interest in the world of musical theatre choreography. It outlines a step by step process on how to go about choreographing a dance within a musical. Whether one has choreographed many dances or never choreographed at all, this guide will aid in their creative process as a choreographer. The second part of this thesis is a case study on Cabaret.. All the steps that are outlined in the first part of this thesis are reiterated within the analysis of VCU's Main Stage production.
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Meekums, Bonnie. "Dance movement therapy and the development of mother-child interaction." Thesis, University of Manchester, 1990. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557844.
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Caldwell, Rachel. "Autobiography in movement and prose| The self-made image." Thesis, Mills College, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557458.
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Autobiographies have been written by notable 20th Century choreographers, establishing a strong connection between autobiographical writing and the art of choreographing. The autobiographical process, specifically the act of self-reflection, lends itself to the formation of a self-image, which is evident in both the choreographers' writing and their choreography. Because of similar processes in choreography and autobiographical writing, choreographers are inclined towards the autobiographical act, as it is an invaluable tool for self-discovery and expression. Through this process, choreographers have been able to formulate and perpetuate lasting images of themselves, supported by both their choreographic work, and their written autobiographies. Examples of this can be seen in the works of 20th Century modern dance choreographers: Isadora Duncan, Martha Graham, Yvonne Rainer and Twyla Tharp.
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Olson, Darin James. "Eckhard Kopetzki's Compositions for Marimba Competitions: An Examination and Comparison of Three Movements for a Solo Dancer and Night of Moon Dances." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1305845608.
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Fredricson, Flodin Fia. "Rörelsekatalysator : En fenomenologisk studie i högskolelärares kroppslighet i undervisning." Thesis, Södertörns högskola, Centrum för praktisk kunskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33034.
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Den här masteruppsatsen är en vetenskaplig essä i den praktiska kunskapens teori. Den är ett försök till en fenomenologisk inspirerad studie i högskolelärares kroppslighet i undervisning på lärarutbildning. Mina forskningsfrågor är: På vilka sätt erfar högskoleläraren sin egen kropp och dess rörelser i undervisningssituationer? Vilken roll spelar den egna erfarenheten om sin kroppslighet i förståelsen av sin presentation? I vilken relation står undervisningens innehåll, det som ska undervisas, till högskolelärarens kroppslighet? På vilka sätt skapar högskolelärarens kroppslighet relationer i undervisningen?Undersökningen består av berättelser från min erfarenhet som lärare i dans samt filmade observationer och intervjuer av fyra andra högskolelärare på lärarutbildningen. Studiens metod och teoretiska bakgrund är fenomenologisk och baseras på den franska filosofen Maurice Merleau-Pontys arbete om levd kropp och intersubjektivitet samt dans och rörelse teorier om kropp, rum, tid och kraft av Rudolf Laban.I analysen av det empiriska materialet lyfter jag fram tre dimensioner av kroppslighet, presentation, gestaltning och relation som jag diskuterar i relation till mina valda teorier. Som en fenomenologisk studie beskriver jag först de fyra lärarnas erfarenhet av sin kroppslighet för att sedan reflektera på det som har visat sig. Undersökningens ändamål är inte ett snabbt svar på bästa sättet att undervisa. Istället är mitt intresse att verkligen försöka förstå hur kroppen och dess rörelser kan få en större betydelse inom lärarutbildning.This master thesis has the form of a scientific essay within the theories of practical knowledge. It is an attempt to a phenomenological survey of higher education teacher´s relationship to their own corporality in teaching in a teacher education program. I investigate following question; In what ways do university teachers experience their own body and its movements in teaching? How does the teacher´s own experience of its corporality influence the understanding of the own presentation? What is the relationship between teacher´s corporality and the content of the teaching? In what way does the teacher´s corporality create relationships within the teaching?My investigation contains of narratives from my experience as a teacher in dance. It will also contain filmed observations and interviews with four other teachers in higher education at the teacher education program at the Södertörn university. The methodological and theoretical background of my study is phenomenological, based on the French philosopher Maurice Merleau-Ponty´ s work on lived body and intersubjectivity and movement and dance theories of Rudolf Laban about body, time, space and effort.Within the analysis of my empirical material I have high lightened three dimension of corporality; presentation, formation (creation) and relation, which I have discussed further in relationship to my theories. As a phenomenological study I have first tried to describe the four teacher´s experience of their own corporality and then reflect on the outcome. It is not my goal to present a quick fix answer to the best way to teach in relationship to the corporality. Instead my interest is to really try to understand how body and it´s movements can be a greater part of the interest and the curriculum of a teacher education program.
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Mazzella, di Bosco Marie. "Ethnographie d'un travail spirituel contemporain : danses libres en conscience en Île-de-France : (danse des 5 rythmes, movement medicine, open floor)." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100093.
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Cette thèse porte sur les pratiques et pratiquants, en Île-de-France, de Danse des 5 Rythmes, Movement Medicine et Open Floor, rassemblées ici sous le terme générique de Danses Libres en Conscience. Entreprises dans l’optique d’une « découverte de soi » ; proches, sans y être réductibles, de techniques de développement personnel ou de bien-être ; ni religieuses ni ésotériques ni proprement thérapeutiques, elles sont pourtant associées dans les discours de leurs pratiquants à une forme de spiritualité, de transformation et de guérison. Qu’est-ce qui, dans le fait de danser dans un tel cadre — c’est-à-dire « librement » et « en conscience », collectivement, en musique — peut être spirituel ou transformateur, porteur de sens, de révélation sur soi, sur le monde, ou facteur de guérison ? L’ethnographie de ces danses permet d’apporter d’une part un nouvel éclairage, occidental et contemporain, sur les rapports étroits entre danse et spiritualité (relevés maintes fois dans d’autres lieux et contextes), et par extension sur les rapports entre corps, affect et esprit tels qu’ils sont pensés et expérimentés ici et maintenant par ces pratiquants. D’autre part, les conclusions de cette enquête offrent la possibilité d’un modèle général pour penser la multitude de pratiques corporelles et spirituelles contemporaines, particulièrement en vogue ces dernières décenniesCentered on the Île-de-France region, this thesis deals with the dance practices and practitioners of 5Rhythms, Movement Medicine and Open Floor, which have been grouped together here as Freeform Mindful Dances. These dances are undertaken with a view to “self-discovery”; they are close to personal development or well-being techniques without being reducible to them; although neither religious, esoteric nor properly speaking therapeutic, they are nevertheless associated, by their practitioners, with a form of spirituality, transformation and healing. What is it that makes dancing in this way – “freely”, “mindfully”, “collectively”, and to music – spiritual or transformative, that allows it to provide revelations about oneself or about the world, or to act as a factor of healing? On the one hand, the ethnography of these practices sheds a new contemporary and Western light on the close connections between dance and spirituality, and by extension, on the relationships between body, mind and emotion as they are conceived and experienced in the here and now by dancing parties. On the other hand, this research aims to offer a general model for thinking about the multitude of contemporary bodily and spiritual practices that have become increasingly fashionable in recent decades