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Kaschl, Elke. "Dance and authenticity in Israel and Palestine : performing the nation /." Leiden : Brill, 2003. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Wu, Wei-Chi. "Dancing Within Taiwanese-ness| International Folk Dancing Communities in Taiwan and California." Thesis, University of California, Riverside, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10935353.
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This research investigates Taiwanese dancers? practice of international folk dancing through interviews and participant-observation. International folk dancing is a specific dance genre, in which its practitioners explore various regional folk dances around the world, regardless of their ethnicities. I define this practice as a transnational embodiment, because it not only covers folk dances from different countries, but also was a government-sanctioned exercise during the Taiwanese Martial Law Period (1945-1987). Furthermore, many Taiwanese immigrants in California are still practicing this dance for the purpose of connecting with people with similar backgrounds. In this regard, international folk dancing is a historical product from Taiwan?s Martial Law Period, and it also functions as an instrument to scrutinize some Taiwanese immigrants? conceptions of national and cultural identity in California. My dissertation starts from post-World War II Taiwan, when international folk dancing was introduced from the United States and became a mass exercise of the Taiwanese people during Martial Law. For the National Government at this time, international folk dancing was a means of presenting Taiwan?s political alignment with the United States. For the Taiwanese people, however, this dance form was a way to understand the outside world under extreme limitations on information access outside Taiwan during Martial Law. My investigation then shifts to Taiwanese immigrants? current practice of international folk dancing in California. Though these immigrants do not limit their practice to Taiwan-specific dances and are embodying cultures of others, international folk dancing is a strong transnational embodiment that enables these Taiwanese immigrants to reconstruct their idea of home in the United States and to present a new definition of Taiwanese identity through practicing others? nationalisms. Furthermore, I demonstrate that Taiwanese dancers of different generations in both regions are constantly constructing the notions of ?folk? and ?international? through their diverse living and dancing experiences. I argue that international folk dancing challenges these concepts when compared to previous scholars? examinations. Additionally, this dance form demonstrates its practitioners? cultural awareness that even though the practice seems to be inclusive, its dancers are much aware of issues of authenticity, appropriation, and cross-cultural politics. Finally, this sub-genre of self-choreographed dancing indicates a Taiwanized international folk dancing practice. Self-choreographed dancing was developed by the Taiwanese international folk dancing community during the Martial Law Period, and in California, it is practiced more in the Taiwanese international folk dancing groups but is missing in Western dancers? community. As this sub-genre stretches the ideas of ?folk,? ?international,? and the sense of cultural awareness, the dissertation also explores this difference between Taiwanese and Western international folk dancing communities to emphasize the notion of Taiwanese-ness. International folk dancing serves to scrutinize relationships between Taiwan and the United States after World War II. Meanwhile, California-based Taiwanese immigrants apply their past dancing memories to their current practice of international folk dancing, suggesting new definitions to existing conceptions of Taiwanese identity. Moreover, the unstableness in the dance form?s translations in Mandarin Chinese?tu-feng-wu or shi-jie min-su wu-dao?indicates that there is no consistent understanding of ?folk,? ?international,? and even ?international folk dancing? itself. The lack of coherent translation furthermore signals varied interpretations of Taiwanese-ness by Taiwanese people from different places and of different generations.
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Holden, Patsy. "Civilized Dancing: The Evolution of Ballroom Dancing from African Trance and Folk Dance." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1173.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
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Ballantyne, Patricia H. "Regulation and reaction : the development of Scottish traditional dance with particular reference to Aberdeenshire, from 1805 to the present day." Thesis, University of Aberdeen, 2016. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=230127.
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This thesis examines historical developments in Scottish dance over the past two hundred years and considers how they combined to shape the current traditional dance and music culture in Scotland. This work examines the effects of increasing regulation and standardisation during the twentieth century through an assessment of the experiences, viewpoints and opinions of present-day practitioners. The business practice and increasing professionalisation of nineteenth-century dancing masters active in the North-East of Scotland, and that of A. Cosmo Mitchell in particular, is considered in relation to the formation of the regulatory societies. The introduction of standardisation is examined through a comparison of nineteenth- and twentiethcentury published sources for the 'Highland Fling'. Tensions and contrasts in traditional dance and music are assessed by a consideration of the approach taken by influential traditional music education establishments such as Fèisean nan Gàidheal and by examining the relationship between Highland dancing and Highland piping. Reactions to regulation such as the (re)introduction of percussive step dance to Scotland and the growth in popularity of informal, 'called' ceilidh dancing are evaluated. The relationship between traditional dance and music in Scotland today is considered in the light of recurring themes such as professionalisation, regulation, authority, reactions to the status quo and the revival of an approach to or concept of dance rather than the revival of an historically verifiable style.
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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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Yuen, Lai-fong. "Teacher's self-efficacy : the determining factor for Hong Kong folk dance teaching /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25755328.
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Schmidt, Hans. "Die Sardana Tanz der Katalanen /." Hamburg : [s.n.], 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645743.html.
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Pee, Mary Teresa Lay Hoon. "The development of Chinese, Indian and Malay dance in Singapore to the 1970s." Thesis, Queensland University of Technology, 1999. https://eprints.qut.edu.au/35808/7/35808_Digitised%20Thesis.pdf.
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Genet, Coline. "Dialogues between a violin and a body : How to be a dancing musician on stage ?" Thesis, Kungl. Musikhögskolan, Institutionen för folkmusik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4217.
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The folk tradition has often been divided between two sections: on one side is music,on the other is dance. The aim of this research is to study the relationships between dance and music inside one individual to create a new profile: the dancing musician.The process of this research went through different stages. First of all, I relied on my background as a folk musician and dancer to enable dialogue between these two profiles. Then I went beyond the boundaries of the folk tradition by mixing improvisation and folk music. Finally, I analysed movements, meters and expression of each part in order to combine them and to resolve technical issues of the multitasking process. The present study shows different ways of using this dance-music combination as a creative tool and explains what effects those arts have on each other.
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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.
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Lee, Hee Jung. "Storytelling of the Korean traditional dance "The Hahoe Mask" using interactive multimedia /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2295.
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Ávila, Newton Fernandes de. "Dança circular e hospitalidade : um corpo que se expressa e acolhe com amorosidade." reponame:Repositório Institucional da UCS, 2017. https://repositorio.ucs.br/handle/11338/3548.
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Esta pesquisa propõe a dança circular, como expressão de vínculos de acolhimento e amorosidade, em condições de oferecer sinalizadores para a hospitalidade. Tem como objetivos específicos: apresentar a dança circular num contexto relacional entre os sujeitos; relacionar os conceitos de acolhimento e amorosidade à dança circular; identificar sinalizadores de hospitalidade, nos vínculos marcados pelo acolhimento e amorosidade, em decorrência da dança circular. Em termos teóricos, é transdisciplinar, envolve estudos sobre dança circular, corpo, hospitalidade, acolhimento e amorosidade. A Cartografia de Saberes, proposta por Baptista, é a orientação metodológica para a produção deste estudo, com realização das trilhas de saberes pessoais, saberes teóricos e a usina de produção. Foram realizadas aproximações investigativas, com levantamento bibliográfico, desenvolvimento de intervenções de dança em diversos ambientes e observação do corpo participante. Nas ações práticas, observação direta, observação participante, rodas de conversa, relatos de vivências e experimentação com desenvolvimento da dança circular. Os resultados indicaram que o desenvolvimento da dança circular, em diversos ambientes, proporcionou, aos sujeitos participantes, sensação de bem-estar, laços de proximidade, acolhimento e amorosidade. A dança circular é uma forma de integrar o corpo e sua expressividade, em situação de comunicação e expressão. É capaz de acionar o pensamento e explorar a criatividade, para improvisar e, ao mesmo tempo, estabelecer a conexão de troca com este ‘outro’, o desconhecido. Trata-se de prática cooperativa, envolvendo uma nova-velha forma de lidar com as relações humanas em equipes de trabalho e no cotidiano, certamente como faziam nossos ancestrais. Proporciona sensação de pertencimento e provoca soltura nos corpos, relaxamento e relação-convívio. Há ampliação do bem-estar físico, mental, emocional, energético e social, no processo que costura as relações interpessoais. Ao tocar e ser tocado na dança circular, há a inserção da permissão de envolvimento, fluidez necessária para a constituição das emoções, do acolhimento e da amorosidade, que, por sua vez, terá resultados diferenciados, gerando condições de hospitalidadeSubmitted by cmquadros@ucs.br (cmquadros@ucs.br) on 2018-03-12T11:21:47Z No. of bitstreams: 1 Dissertacao Newton Fernandes de Ávila.pdf: 2147289 bytes, checksum: 5a3a002521e05121f81cd271e0e63391 (MD5)
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This research proposes the circular dance, as an expression of the bonds of welcoming and amorousness, in conditions to offer signs for the hospitality. It has specific objectives: to present the circular dance in a relational context between the subjects; to relate the concepts of welcoming and amorous to circular dance; to identify flags of hospitality, in the bonds marked by the welcoming and amorousness, as a result of the circular dance. In theoretical terms, it is transdisciplinary, involves studies on circular dance, body, hospitality, welcoming and amorousness. The Cartography of Saberes, proposed by Baptista, is the methodological orientation for the production of this study, with the realization of the tracks of personal knowledge, theoretical knowledge and the production plant. Investigative approaches were carried out, with a bibliographical survey, development of dance interventions in several environments and observation of the participant body. In practical actions, direct observation, participant observation, talk wheels, experiences reports and experimentation with circular dance development. The results indicated that the development of circular dance, in several environments, provided the participants with a feeling of well-being, close ties, welcoming and love. Circular dance is a way of integrating the body and its expressiveness, in a situation of communication and expression. It is capable of triggering thought and exploring creativity, to improvise and, at the same time, to establish the connection of exchange with this 'other', the unknown. It is a cooperative practice, involving a new way of dealing with human relations in work teams and daily life, as our ancestors certainly did. It provides a sense of belonging and causes ease in bodies, relaxation and relationship. There is an increase in physical, mental, emotional, energetic and social well-being in the process that stitches interpersonal relationships. By touching and being touched in the circular dance, there is the insertion of the permission to be involved, fluidity necessary for the constitution of emotions, welcoming and love, which, in turn, will have different results, generating conditions of hospitality.
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Rojas, Monica M. "Docile devils : performing activism through Afro-Peruvian dance /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/6407.
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Liao, Chia-Ying. "No more dancing for gods : a case study of "Ilisin" (harvest festival) and ethnic relationships in Taiwan." Thesis, University of British Columbia, 2007. http://www.oregonpdf.org.
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Thesis (M.A.)--University of British Columbia, 2007.Includes bibliographical references (leaves 72-77). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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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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Mellish, E. S. "Dancing through the city and beyond : lives, movements and performances in a Romanian urban folk ensemble." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1432797/.
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This thesis investigates the lives, movements and performances of dancers in a Romanian urban folk ensemble from an anthropological perspective. Drawing on an extended period of fieldwork in the Romanian city of Timisoara, it gives an inside view of participation in organised cultural performances involving a local way of moving, in an area with an on-going interest in local and regional identity. It proposes that twentyfirst century regional identities in southeastern Europe and beyond, can be manifested through participation in performances of local dance, music and song and by doing so, it reveals that the experiences of dancers has the potential to uncover deeper understandings of contemporary socio-political changes. This micro-study of collective behaviour, dance knowledge acquisition and performance training of ensemble dancers in Timisoara enhances the understanding of the culture of dance and dancers within similar ensembles and dance groups in other locations. Through an investigation of the micro aspects of dancers’ lives, both on stage in the front region, and off stage in the back region, it explores connections between local dance performances, their participants, and locality and the city. It draws on multi-layer concepts of local belonging that interact with notions of continuity and visibility, local cultural norms, and performance aesthetics. This thesis follows the dancers through their ensemble lives, starting from their apprenticeship when they learn local dance moves and acquire a sense of belonging to the ensemble. It examines the role of the key choreographers as pseudo-parents within their ensemble family and the authorities that provide time-depth and stability through the maintenance of local cultural norms within ensemble life and in performance aesthetics. It examines the dancers’ involvement in local event organisation during the performance process, and concludes that the continuity of local dance, music and song is dependent on its local and translocal visibility.
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袁麗芳 and Lai-fong Yuen. "Teacher's self-efficacy: the determining factor for Hong Kong folk dance teaching." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31963316.
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Eckardt, Allison. "Kpatsa an examination of a Ghanaian dance in the United States /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1214242024.
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Burden, Matilda. "Die herkoms en ontwikkeling van die Afrikaanse volksdans." Thesis, Stellenbosch : Stellenbosch University, 1985. http://hdl.handle.net/10019.1/64932.
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Ka'ai-Oldman, Rachael Te Awhina, and n/a. "Takina ko au, Takina ko koe! Te ahuatanga o te whakataetae kapa haka." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.123401.
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Nga mahi a Tane-rore me Te Rehia (traditional Maori performing arts) is one of the most visible aspects of Maori culture. Traditional Maori performing arts is one of the key elements seen on the marae and it marked the first experiences between the Maori and European explorers. However, since the arrival of tauiwi (foreigners) the art has evolved, largely as a result of outside influences. Many of the changes that have been introduced to the art have been a product of the struggle of Maori to maintain their language and customs, despite the onslaught of cultural domination. An example of one such change is the introduction of a Western style competition, that is, a formal style of competition that includes judges, assessment criteria and/or competition rules, and prizes. This thesis will explore the evolution of traditional Maori performing arts with particular reference to how this traditional art form has been affected by the 'Western' notion of competition.
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Paringatai, Karyn Ailsa, and n/a. "Poia mai taku poi: Unearthing the knowledge of the past : a critical review of written literature on the poi in New Zealand and the Pacific." University of Otago. Te Tumu - School of Maori, Pacific and Indigenous Studies, 2005. http://adt.otago.ac.nz./public/adt-NZDU20070430.110817.
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The primary objective of this thesis is to review literature written about poi in order to construct an historical overview of poi from pre-contact Maori society until the 1920s. The mythological and Polynesian origins of poi, traditional and contemporary materials and methods used to make poi, early travellers, explorers, and settlers accounts of poi and two case studies on the use of poi in the Taranaki and Te Arawa areas will be included in this thesis. The information will be used to show the changes in poi that have occured since Maori and European arrival to New Zealand until the 1920s.
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Schmidt, Amy Esther. "Dance And Cultural Identity: The Role Of Israeli Folk Dance And The State Of Israel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213619443.
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Cimino, Antimo. "Hi'Iaka meets Terpsichore : an exploratory study of the connections between intercultural communication and dance." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/641.
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This thesis is a theoretical examination intended to lead the reader in a process of deeper and subjective understanding of culture through the medium of dance. The literature review avails the reader with meaningful foundation work and theories that are weaved together to propose a framework for observing dance movement with a more intercultural set of lenses. This thesis focuses particularly on three intersections: dance as a form of expression and nonverbal communication, dance as embodiment of culture, and dance as a reflection of cultural identity. A useful outcome of this study is a sequential set of tools suggested as a structure useful to gather and analyze data and to conduct further research.
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Damon, Eleanor Denise, and Eleanor Denise Cyster. "Volksdans as komponent van die liggaamlike opvoedingprogram binne 'n multikulturele Suid-Afrikaanse gemeenskap." Thesis, Stellenbosch : Stellenbosch University, 1995. http://hdl.handle.net/10019.1/54940.
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Thesis (MEd.) -- Stellenbosch University, 1995.ENGLISH ABSTRACT: South African education is facing a big dilemma. Teachers, curriculators and students are confronted with the issue of multiculturalism because of the establishment of one education department. Equality in education has to oe offered to all citizens and implemented by all teachers. In moving from a monocultural to a multicultural approach, all teaching spheres would necessarily be affected. Re-evaluation, change and an improvementclre required and these reconstructive measures be geared towards breaking down isolation, fragmentation and mistrust within the diverse South African society. Through a literature study, some perspectives on the problematic nature of the current teaching program will be addressed. Various perspectives on multiculturalism serves as a framework for argumentation about the viability of such an approach. The contribution of the school subject, Physical Education, towards harmony and solidarity, will be established. The focus will be on one of the dance components, Folk Dancing, and in what way it can assist the process of socialization for the creation of a sense of national unity. The orientation to this study will be done in chapter one. In chapter two the current problematic conditions within education serve as a background for the total dilemma in which the South African teaching profession are outlined. The different problems surrounding the school sUbject, Physical Education, are discussed, which were a direct result of the fragmentation of the previous education system. The needs of the multicultural community are not met entirely in the current Physical Education syllabi. In chapter three the different perspectives on multicultural education are given and the experiences that countries like Australia, Britain, the United States of America and Namibia had with the implementation of multicultural education to serve their multicultural societies. The school needs to serve the community. That is why the process of planning the total educational practice needs to be reviewed as to the relevancy of the school curriculum in order to serve the needs of the community. In chapter four the place of Physical Education in the school curriculum is established and the role that Folk Dancing has to play in order to serve as means to foster social harmony, respect and tolerance. In chapter five a cultural composition needs to be done in order to establish what the multicultural community in South Africa consists of, what the different majority cultural groups are and what research already has been attempted in the documentation of the different South African cultural folkdances. The need is then to develop a program which will cover the twelve years of schooling in order to, serve as an interim program to create a bettfJr understanding between the differ']nt cultural groups of the country. In the final chapter conclusions and recommendations will be put forward to enable future study.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse onderwys staan voor 'n groot dilemma. As gevolg van die daarstelling van 'n enkele departement van onderwys word kurrikuleerders, leerlinge sowel as die onderwysers gekonfiOnteer met die kwessie van multikulturalisme. Gelyke onderwys word i10U aan aile landsburgers verskaf en moet deur aile onderwysers ge"implementeer word. Die oorskakeling vanaf 'n monokulturele na 'n multikulturele benadering in die onderwys sal aile vlakke van die onderwys noodwendig affekteer. Herevaluering, verandering en verbetering is tans aan die orde van die d~g, omdat rekonstruktiewe optrades die isolasie, fragmentering en wantroue van die verskillende gemeenskappe in Suid-Afrika kan aanspreek. Hierdie studie is hoofsaaklik daarop gemik om, deur middel van Iiteratuurstudie, orientering te verskaf rondom die huidige onderwysproblematiek. Die verskillende perspektiewe van multikulturele onderwys dien as raamwerk waarbinne daar oor die werkbaarheid van so In benadering geargumenteer word. Verder word daar ondersoek ingestel na die bydrae van die skoolvak, Liggaamlike Opvoeding, in die herstel van harmonie en eenheid. Die fokus val veral op een van die danskomponente, Volksdans en in watter mate laasgenoemde deur middel van die proses van sosialisering In sin vir nasionale eenheid kan bewerkstellig. Die orientering ten opsigte van die studie geskied in hoofstuk een waarin die probleme random die skoolvak Liggaamlike Opvoeding beskryf word wat veraorsaak is as gevolg van die fragmentasie in die onderwys. In hoofstuk twee word die huidige onderwysproblematiek uiteengesit wat dien as agtergrond vir die totala dilemma waarin die Suid-Afrikaanse onderwys hom tans bevind. Die behoeftes van die multikulturele gemeenskap word nie voldoende verreken in die huidige sillabusse nie omdat die gemeenskappe toenemend aan die verander is. Hoofstuk drie ondersoek die verskillende perspektiewe rondom multikulturele onderwys en die ondervinding van enkele lande 5005 Australia, Die Verenigde State van Amerika, Brittanje en Namibia ten opsigte van multikuiturele onderwys en die multikulturele samestelling van hul gemeenskappe. Die skool gee uitvoering aan die behoeftes van die gemeenskap. Dit is daarom dat die kurrikuleringsproses van die totale onderwyspraktyk onder die loep geneem word asook die relevansie van die skoolkurrikulum ten opsigte van die genoemde behoeftes. In hoofstuk vier word die plek van Liggaamlike Opvoeding en die Volksdansafdeling binne die totale opvoedingsprogram beskryf am aan te dui watter rol gespeel word am sosiale harmonie, respek en verdraagsaamheid te verstewig. In hoofstuk vyf word die multikulturele aard van die Suid-Afrikaanse gemeenskap deur middel van In kulturele samestelling blootgelA. In Volksdans-program verskaf moontlike variasies om voorsiening te maak vir multikulturalisme en kultuuruitruiling. In die slothoofstuk word gevolgtrekkings en acmbevelings ten opsigte van die studie gemaak.
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Diniz, Irlla Karla dos Santos [UNESP]. "Blog educacional para o ensino das danças folclóricas a partir do currículo de educação física do estado de São Paulo." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/108685.
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000763842.pdf: 3338682 bytes, checksum: 1dbd5bc314335f751003eed079ecbbbd (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
A dança enquanto um dos conteúdos da cultura corporal ainda enfrenta dificuldades para adentrar os muros da escola. Os professores de Educação Física por não possuírem experiências com este tema, tanto antes como após a graduação, ainda enfrentam limitações para tratá-lo de modo contextualizado. O currículo, resultante de uma seleção no interior da cultura, faz um recorte dos conhecimentos que devem ser tematizados na escola, oferecendo aos professores um panorama geral dos conteúdos, atuando como norteador dos componentes curriculares. O Currículo de Educação Física do Estado de São Paulo, instaurado recentemente, apresenta a dança como um de seus conteúdos, no entanto, o tratamento didático-pedagógico oferecido parece sintetizado em alguns momentos. Assim, foram investigadas algumas possibilidades pedagógicas para contribuir com o trabalho do professor que já enfrenta tantas dificuldades no ambiente escolar. Diante do novo contexto que se instaura, procurou-se investir na utilização das Tecnologias da Informação e da Comunicação (TIC) para disponibilizar aos professores conhecimentos e possibilidades complementares para o tratamento da dança em suas aulas. As TIC no contexto educacional podem viabilizar uma elaboração mais ampla do conhecimento, expandindo as fontes de informação, e propiciando ao professor tratar um conteúdo que muitas vezes não está presente no interior das aulas de Educação Física. Portanto, o objetivo deste estudo foi elaborar e avaliar um material didático complementar ao Currículo de Educação Física do Estado de São Paulo, sob a forma de um blog educacional que subsidiasse o trabalho do professor no conteúdo de danças folclóricas proposto para o sétimo ano do ensino fundamental. Este material foi publicado e divulgado sob a forma de um blog educacional, que, posteriormente foi avaliado por seis professores de Educação Física do Estado de São Paulo. Ademais, dois..
Dance as one of the contents of body culture still struggles to penetrate the walls of the school. The Physical Education teachers for not having experience with this issue, both before and after graduation, still face limitations to treat it in a contextualized way. The curriculum, resulting in a selection within the culture, makes a cut of knowledge that must be thematized in school, giving teachers an overview of the contents, and acting as guiding the curriculum components. The Physical Education Curriculum of the State of São Paulo, newly established presents dance as any of its contents, however, the didactic -pedagogical treatment offered seems synthesized in a few moments. Thus, some pedagogic possibilities to contribute to the work of the teacher already facing so many difficulties in the school environment were investigated. Given the new context that is established, we sought to invest in the use of Information Technology and Communication (ICT) to provide teachers knowledge and complementary possibilities for treating dance in their classes. ICT in the educational context can provide a more comprehensive elaboration of knowledge, expanding the sources of information, and providing the teacher treat content that often is not present within the Physical Education classes. Therefore, the aim of this study was to develop and evaluate a complementary teaching material to the Physical Education Curriculum of the State of São Paulo, in the form of an educational blog which subsidize the work of teachers in the content of folk dances proposed for the seventh year of elementary school. This material was published and disseminated in the form of an educational blog, which subsequently was evaluated by six teachers of Physical Education of the State of São Paulo. In addition, two participants in this group taught classes of folk dances from the proposed blog content, experimenting in real teaching situations the possibilities of the...
FAPESP: 12/18436-7
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Yeung, Kwan-yu Frederick, and 楊君儒. "Teacher and student perspectives of the "comprehensive dance project"." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B27586911.
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Diniz, Irlla Karla dos Santos. "Blog educacional para o ensino das danças folclóricas a partir do currículo de educação física do estado de São Paulo /." Rio Claro, 2014. http://hdl.handle.net/11449/108685.
Full textAbstract:
Orientador: Suraya Cristina DaridoBanca: Sara Quenzer Matthiesen
Banca: Eliana de Toledo Ishibashi
Resumo: A dança enquanto um dos conteúdos da cultura corporal ainda enfrenta dificuldades para adentrar os muros da escola. Os professores de Educação Física por não possuírem experiências com este tema, tanto antes como após a graduação, ainda enfrentam limitações para tratá-lo de modo contextualizado. O currículo, resultante de uma seleção no interior da cultura, faz um recorte dos conhecimentos que devem ser tematizados na escola, oferecendo aos professores um panorama geral dos conteúdos, atuando como norteador dos componentes curriculares. O Currículo de Educação Física do Estado de São Paulo, instaurado recentemente, apresenta a dança como um de seus conteúdos, no entanto, o tratamento didático-pedagógico oferecido parece sintetizado em alguns momentos. Assim, foram investigadas algumas possibilidades pedagógicas para contribuir com o trabalho do professor que já enfrenta tantas dificuldades no ambiente escolar. Diante do novo contexto que se instaura, procurou-se investir na utilização das Tecnologias da Informação e da Comunicação (TIC) para disponibilizar aos professores conhecimentos e possibilidades complementares para o tratamento da dança em suas aulas. As TIC no contexto educacional podem viabilizar uma elaboração mais ampla do conhecimento, expandindo as fontes de informação, e propiciando ao professor tratar um conteúdo que muitas vezes não está presente no interior das aulas de Educação Física. Portanto, o objetivo deste estudo foi elaborar e avaliar um material didático complementar ao Currículo de Educação Física do Estado de São Paulo, sob a forma de um blog educacional que subsidiasse o trabalho do professor no conteúdo de danças folclóricas proposto para o sétimo ano do ensino fundamental. Este material foi publicado e divulgado sob a forma de um blog educacional, que, posteriormente foi avaliado por seis professores de Educação Física do Estado de São Paulo. Ademais, dois..
Abstract: Dance as one of the contents of body culture still struggles to penetrate the walls of the school. The Physical Education teachers for not having experience with this issue, both before and after graduation, still face limitations to treat it in a contextualized way. The curriculum, resulting in a selection within the culture, makes a cut of knowledge that must be thematized in school, giving teachers an overview of the contents, and acting as guiding the curriculum components. The Physical Education Curriculum of the State of São Paulo, newly established presents dance as any of its contents, however, the didactic -pedagogical treatment offered seems synthesized in a few moments. Thus, some pedagogic possibilities to contribute to the work of the teacher already facing so many difficulties in the school environment were investigated. Given the new context that is established, we sought to invest in the use of Information Technology and Communication (ICT) to provide teachers knowledge and complementary possibilities for treating dance in their classes. ICT in the educational context can provide a more comprehensive elaboration of knowledge, expanding the sources of information, and providing the teacher treat content that often is not present within the Physical Education classes. Therefore, the aim of this study was to develop and evaluate a complementary teaching material to the Physical Education Curriculum of the State of São Paulo, in the form of an educational blog which subsidize the work of teachers in the content of folk dances proposed for the seventh year of elementary school. This material was published and disseminated in the form of an educational blog, which subsequently was evaluated by six teachers of Physical Education of the State of São Paulo. In addition, two participants in this group taught classes of folk dances from the proposed blog content, experimenting in real teaching situations the possibilities of the...
Mestre
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Carvalho, Luciana Coin de [UNESP]. "O Bumba Meu Boi do Grupo de Danças Brasileiras Gracinha: uma experiência de arte-educação." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86852.
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carvalho_lc_me_ia.pdf: 1197018 bytes, checksum: 7217f62d84ec6b5d89db1807b69617b2 (MD5)Universidade Estadual Paulista (UNESP)
Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi – Renascer, Batizado e Morte –, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais
This dissertation is to introduce “Grupo de Danças Brasileiras Gracinha”, and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center – “Centro de Convivência Gracinha”, which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being “Bumba-Meu-Boi” the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of “Bumba-Meu-Boi” – Rebirth, Baptism, and Death –, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered “Grupo de Danças Brasileiras Gracinha”´s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects
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Carvalho, Luciana Coin de. "O Bumba Meu Boi do Grupo de Danças Brasileiras Gracinha : uma experiência de arte-educação /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86852.
Full textAbstract:
Orientador: Marianna Francisca Martins MonteiroBanca: Pedro Rodolpho Jungers Abib
Banca: Alberto Tsuyoshi Ikeda
Resumo: Esta dissertação apresenta a experiência do Grupo de Danças Brasileiras Gracinha e localiza essa proposta nos contextos brasileiros de arte-educação e de educação não formal. O Grupo de Danças Brasileiras Gracinha é formado por crianças e jovens que frequentam o Centro de Convivência Gracinha, no bairro Jd. Campo Belo, em São Paulo. Esse Grupo realiza, há treze anos, apresentações de danças brasileiras, sendo o Bumba meu boi o folguedo que deu início a essa atividade. Além do espetáculo, também organizam o ciclo de festas rituais do Bumba meu boi - Renascer, Batizado e Morte -, com explícita referência ao folguedo que acontece no estado do Maranhão. Para realizar esse estudo, acompanhei e registrei os ensaios, apresentações e festas do Grupo de Danças Brasileiras Gracinha, entre março de 2010 e junho de 2011. Também realizei entrevistas com os educadores e crianças diretamente envolvidos nesse projeto. E, finalmente, procurei colocar essa experiência no centro de uma reflexão sobre a presença das manifestações da cultura popular em projetos sociais e educacionais
Abstract: This dissertation is to introduce "Grupo de Danças Brasileiras Gracinha", and to settle that proposition to the Brazilian art education context, as well as non-formal education. Gracinha Brazilian Dancing Group is formed by children and young people who attend Gracinha Gathering Center - "Centro de Convivência Gracinha", which is located at the Jd. Campo Belo neighborhood in São Paulo. For thirteen years this group has been performing Brazilian dancing, being "Bumba-Meu-Boi" the festivity to launch such activity. Beyond the show they also organize the cycle of ritual feasting of "Bumba-Meu-Boi" - Rebirth, Baptism, and Death -, an explicit reference to such demonstration, precisely as it takes place in the state of Maranhão. To accomplish these studies, I came along watched and registered "Grupo de Danças Brasileiras Gracinha"'s rehearsals, presentations, and feasts from March 2010 through June 2011. I also interviewed the educators and children directly involved in that project. Last but not least, I have tried to nestle that experience upon the thought of the presence of the manifestations of the so-called folk culture into social and educational projects
Mestre
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Hoeppner, JoAnna. "The importance of preserving American folk culture a guide to the cooperative teaching of folk dance in physical education and music /." 2003. http://www.oregonpdf.org.
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Chang, Hsiao-Feng, and 張筱楓. "The research of contemporary folk dancing created by Chiin-Ling Hsiao." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/gjy284.
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碩士臺北市立大學
舞蹈學系
105
Based on the theory of dance analysis and historical method, this study discusses how Chiin-Ling Hsiao designed a combination of movements regarding to contemporary folk dance and how she guided the dancers by applying her “contemporary folk dance strategies”. In the preliminary stage of learning folk dance, dancers mime actions, cultivate physical coordination, and learn basic form and style techniques. Through preliminary stage practicing, dancers are competent enough to utilize the techniques freely in the field of folk dance. The ultimate goal is to think out of the box, jumping out of the fixed frame of basic movements. However, the processes cannot be executed solely by the dancers, it requires the guidance of the choreographer. This study, therefore, uses Chiin-Ling Hsiao’s contemporary folk dance teaching schemeas an example to discuss: the blind spots of the training process of contemporary folk dance in dancers’ aspects, the principle axis of Chiin-Ling Hsiao’s courses, the phases of physical trainings, and the way Chiin-Ling Hsiao guided dancers. This study applies historical methodology introduced by Wei-Yun Du as the main research method to analyze the teaching strategy. Supplementarily, this study utilizes dance analysis as a tool for the analysis of choreographic pieces. The source materials adopted by the researcher in this study include the interviews of Chiin-Ling Hsiao and dancers, the notes and the experience obtained by the researcher, and the references of the development of folk dance in Taiwan.
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Li-Shen, Huang, and 黃麗慎. ""Jio-Tien" folk dancing group: An exceptional model of counselling juvenile delinquents." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/50102179546346430870.
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碩士國立臺北大學
犯罪學研究所
101
The researcher has been working as a consultant in juvenile correction institutes for counselling delinquent juvenile for fifteen years. From observation, it appears that a juvenile’s family, school and societal environment are important in the criminogenic process,after they have been discharged from the Juvenile correction institute. In this regard, the researcher has established an NGO, “Chinese Juvenile caring institute”, to help juveniles refrain from crime again, but only failed to have good effect. However “Jiotien folk dancing group” has successfully transformed itself from an “gang group” unacceptable to society into a famous art performance group which also successfully manages delinquent juveniles. This outstanding success has motivated the researcher to research how they have managed to achieve this performance. In this report, the researcher is trying to understand how “Jio-tien” successfully handled those juvenile’s delinquency; also to understand what are its concepts and methods and can they be replicated and modelled for others. If the exceptional experience of “Jiotien” can be analysed for better understanding, it may provide a good model to be copied or referred by other organizations. By interview 24group and community members, the study concluded that the mechanisms through which “Jio-tien” succeeded were (1) a leader with talent and broad vision who leads by his personal example., (2) self-fulfillment with assertiveness, (3) the loyalty to stand together through thick and thin, (4) positive and constructive peers, (5) surroundings with norms, (6) spiritual convention, and (7) familial cooperation. There are some implications of this study: (1) the family should establish the loyalty to stand together through thick and thin, (2) the schools should provide sources for diverse accomplishment (3) the other displacement organizations could promote friendship between peers and their self-fulfillment, (4) educational circles could bring “Jia-Jan group” into vocational training at school, and (5) the government could administer “Jia-Jan group” positively as a legitimate NGO.
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Walker, Christopher A. "Jamaican dance theatre folk origins and contemporary aesthetics /." 2004. http://www.oregonpdf.org.
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Thesis (M.F.A.)--State University of New York College at Brockport, 2004.Includes bibliographical references (leaves 155-157). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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Kennedy, Sandra Lynn. "Energy expenditure in Scottish Highland dance." 2005. http://www.oregonpdf.org.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2005.Includes bibliographical references (leaves 37-38). Also available online (PDF file) by a subscription to the set or by purchasing the individual file.
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Christensen, Peg Eileen. "Jane Farwell adult educator and social recreation leadership trainer /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/42737525.html.
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HuangThungPing and 黃榮平. "A Study of the Development of Folk Sports in Taiwan—The Case of Jumping Drum Dancing." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/36191768777834986022.
Full textAbstract:
碩士國立屏東師範學院
體育學系碩士班
94
Folk sport is the important component of local culture property in Taiwan. However, the folk sports may be provided with native cultural color. It is the best activity design for knowing the native culture from the beginning of folk sports teaching. Jumping Drum Dancing is one of folk sport in Taiwan. Recently, the authority tried to encourage junior high schools and elementary schools to promote it. The purpose of this study were to explore the development of folk sports, trace the source of Jumping Drum Dancing, analysis the present situation of Jumping Drum Dancing jumps, study main content, and discuss promotion the strategy of it. And the approaches were employed by document and field study in this study, and the results were based on a collection of documents, which have been arranged, classified, criticized, and explained. The followings are the conclusions and suggestions of this study: 1.In 21st century, about the development of folk sports in Taiwan, the government has drawn up positively the policy of development and promotion for folk sports to expect that the school teaching and all the people participate in the folk sports could achieve the goal all the people participate, treasure, continue the folk sport. 2.Taiwan Jumping Drum Dancing jumps should come with Minnan people immigrating Taiwan in Ming and Qing Dynasty, and it combined with "big cool umbrella drum dance" to become popular Taiwan Jumping Drum Dancing. 3.At present, the newly Jumping Drum Dancing array are the most ones of the folk array in Taiwan, especially in junior high schools and elementary schools. It has already become the one of the folk sport which be worth widely promoting. 4.Nowadays, the performance content of Jumping Drum Dancing in Taiwan stresses a type or the formation change in the school. and stresses strstunt performance in civil. 5.For the development strategy of Jumping Drum Dancing in the future, at first, it should establish the correct idea to folk sport, and the study of teaching. And the guidance and assistance and criticizing should be carried out. The teacher cultivation should take the multiple as well. However, it’s also important to use resources well; then, the folk sport would develop forever.
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AUGUSTYNOWICZ, Ewa Anna. "A new fashion : Polka wave in Europe 1844-1860s." Doctoral thesis, 2016. http://hdl.handle.net/1814/42065.
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Defence date: 28 June 2016Examining Board: Professor Antonella Romano, Centre Alexandre-Koyré (Supervisor); Professor Pavel Kolar, European University Institute; Professor Michael Werner, Centre Georg Simmel; Professor Markian Prokopovych, Central European University.
This is a thesis about the polka, a dance of women and feminity, love, passion, young and old, peasants, bourgeoisie and aristocrats. And, as I will explain and study in the following pages, it is about one of the spectres haunting Europe in the nineteenth century. A few years ago a short story called "Polkamania" by Joachim H. Stocqueler fell into my hands. This little farce, written in 1844, tells the story of Miss Woolgar, a young lady, who is dying to learn the polka. Then opportunely, a medical student arrives. He tricks the father into thinking that the polka is a new type of medicine that can cure the young lady of ennui. The historian’s curiosity encouraged me to rummage among some dance books and internet websites to find out what was so special about this dance, which Poles usually dance at wedding parties and which contemporary American immigrants consider a part of their cultural and national heritage, to make it a theme of this short story. My curiosity derived not only from the fact that I am Polish but also because, as a musician, I always considered the polka a rather boring, traditional, peasant dance. My short investigation convinced me that it was time to change my mind about this dance form.
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Schwall, Elizabeth Bowlsby. "Dancing with the Revolution: Cuban Dance, State, and Nation, 1930-1990." Thesis, 2016. https://doi.org/10.7916/D8GM879J.
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Against the backdrop of the 1933 and 1959 Cuban Revolutions, dance became highly politicized as performers interacted with the state and expressed ideas choreographically about race, gender, and social change. Starting in the 1930s, citizens invested in ballet as a means for cultural progress. In the 1940s and 1950s, a growing cadre of ballet professionals and their supporters advocated for the government to subsidize the form. Simultaneously, carnival, cabaret, and concert dancers sparked widespread discussion about nation and racial formation, specifically the place of blackness and whiteness in Cuba. As a result, performers and patrons established the political valence of dance as means for reflecting on larger questions about self and society.
After 1959, dancers adapted to the regime change while pursuing longstanding projects. Ballet dancers performed aggressive choreography in fatigues, along with traditional ballets from Europe and Russia, as part of their revolutionary repertoire. Dance teachers built upon previous pedagogical efforts and contributed to new social engineering projects to “improve” Cuban youth. In parallel, modern and folkloric dancers choreographically critiqued patriarchy and race relations in a supposedly post-racial society. These performances developed a Cuban way of dancing and watching dance, the latter characterized as engaged and talkative. Dancers and publics built a vibrant establishment that eventually transcended national borders with Cubans dancing and teaching abroad in the 1970s and 1980s. Meanwhile, dancers contributed to the growing tourist industry and pushed for institutional changes at home in the late 1980s. In 1990, Cuba entered a crisis that destabilized the relationship between dance and politics that had developed over the previous six decades.
During this period, different dance forms including cabaret, carnival, ballet, modern dance, and folkloric dance received various levels of public and state support. I argue that there were important continuities in dance hierarchies with ballet holding the greatest cultural and political capital starting in the 1930s. I also contend that dancers of different genres employed similar tactics to navigate sociopolitical shifts and expressive parameters across the decades. They consistently shaped dance institutions and asserted the value of their work to revolution and nationhood. This social and cultural history of Cuban dance sheds light on the reach and limitations of state power in Cuba as numerous constituencies engaged with the revolution, maneuvering for agency within a limited public sphere.
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Chang, Ying-Hsin, and 張瀛心. "Dancing with Innovation: A Case Study on the Organizing Process for a Folk Sports Team in Taiwan." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/10937676442875758062.
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碩士臺北市立體育學院
運動教育研究所
99
This case study explored the organizing process of a sports team of a college in the northern Taiwan. The sports team consisted of performers of rope skipping, diabolo, acrobatics, and shuttle cock kicking. Since this sports team belonged to a department at an urban college in Taiwan, it was closely related to the college policy of student recruitment. There were 6 research participants in the study, including a department chair, coaches and team captains. Through three-month face-to-face as well as group interviewing, observing, document collecting, and journal taking, the researcher built up research data. After collecting data, narrative analysis, interpretative phenomenological analysis, and thematic analysis were used to analyze the data. We found that the organizing process of the team was shown in the relationship between its goals and its identities to the environment, especially its efforts in seeking innovations. We found that the organizing process of the team was shown in the relationship between its innate quality and its reactions to the environment, especially its efforts in seeking innovations. Besides, we named seven phases for its development: “Sand,” “Round,” “Peak,” “Low tide,” “Resume,” “Second Round,” and “Second peak.” Each of the phases unrolled various styles and features of the team. Finally, there were meanings proposed by the participants. For department leader: fostering students’ professional capacities. For the coach: spreading Taiwan’s folk sports culture. For team members: creating a home and a diploma.
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Watungwa, Joice. "Nkanelo wa micino ya Ndhhavuko Machangana hi ku kongomisa eka miganga ya sangwe na sengwe exifundzeni xa Chiredzi - Zimbabwe." Diss., 2017. http://hdl.handle.net/11602/708.
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MAAS (Xitsonga)Ehansi ka Senthara ya M.E. R. Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko
This study attempts to describe and understand the nature of Xangani traditional dances in Chiredzi District of Zimbabwe. Regrettably for the Xangani not so many literal works have been produced on their dances and it is this lack of documentation that has created gaps. This research has been designed to narrow such notable gaps within the Xangani culture. In this research the major prevalent among the Xangani people, the socio-economic and political values of dances as well the instrument, dress and music that accompany the Xangani traditional dances shall be looked into significantly. To achieve this, a sample of the population was studied and the results were inferred to the generality of the whole community population. Permission was sought from the community leaders and sampled people were interviewed, their views were collected through observation. The research was triangulate to minimize bias and also ensured that efficiency was enhanced. The study considered desktop data as well as written and oral tradition as sources of information on this research.
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Gumede, Mzuyabonga Amon. "Izigiyo as performed by Zulu women in the KwaQwabe community in KwaZulu-Natal, South Africa." Thesis, 2009. http://hdl.handle.net/10413/879.
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This study investigates the content of izigiyo (specified personified solo dance songs) texts that Zulu women perform at social occasions in KwaQwabe, a rural area near KwaDukuza (Stanger) in Northern KwaZulu-Natal, South Africa. Though this study focuses on izigiyo, the KwaQwabe have different oral performances that are performed at specific social occasions. In the KwaQwabe area there lives people who practise subsistence farming. The common crops that they (especially women) grow are maize, beans, groundnuts and imifino (herbs). The cattle and goats that the KwaQwabe men keep are mostly slaughtered for the amadlozi rituals. The study proposes that izigiyo as oral texts are largely responses to issues of heritage, culture, women abuse and domestic violence that lead to pent-up emotions, envy, witchery, gossip, and malpractices that can destroy a community-oriented life-style (Turner, 1998) that features in most African communities. The study hypothesises that Zulu women of KwaQwabe need to be treated with dignity and inhlonipho (respect) within the parameters of the Zulu tradition (Msimang, 1975). The study explores issues surrounding the izigiyo performance in order to establish whether Zulu women have always been silent (Bukenya, 2001) when it comes to issues that affect their lives, pertaining to issues that impinge negatively on their lives (Gunner and Gwala, 1991). The intended receivers of the messages (Ndoleriire, 2000) are always implied in the izigiyo texts and aim at serving as social regulators (Gumede, 2000). The language of izigiyo is in most cases metaphorical so as to avoid confrontation. In the midst of the izigiyo expression men and women relay their perceptions, experiences, and feelings about the way of life in their families and communities at large. This study, however, limits itself to the izigiyo texts that are enacted by Zulu women and does not include men’s.Thesis (Ph.D.)-University of KwaZulu-Natal, Durban, 2009.
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Ling, Xiao-Jiu. "Dance for balance : a postmodern rendering /." 2004.
Find full textAbstract:
Thesis (M.Ed.)--York University, 2004. Graduate Programme in Education.Typescript. Includes bibliographical references (leaves 152-157). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: LINK NOT YET AVAILABLE.
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CHUN, HUANG YU, and 黃玉君. "Research into the Practice of Folk Art in Junior High Student Club Activity -A Case Study on Quan Er Lion Dancing Troupe in Tanzih Junior High School." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/74909947895102438350.
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碩士大葉大學
造形藝術學系碩士在職專班
96
ABSTRACT The purpose of this research aims to explore the artistic value of junior high lion dancing clubs in education of folk arts. It further probes into the background for the establishment of Quan Er Lion Dancing Troupe at Tanzih Junior High School, students’ learning conditions in lion dancing and changes resulted from such participation, and the school’s administrative personnel, instructors and parents’ attitude towards this activity.This research adopted literature analysis, participant observation method and semi-structured interview in qualitative research method to collect data required for this study. Subjects of interviews were 25 members of Quan Er Lion Dancing Troupe, school’s administrative personnel, instructors and students’ parents, as the semi-structured interview was conducted; the researcher observed into the performance through participant observation method to develop understanding of the performance by Quan Er Lion Dancing Troupe practically; document analysis worked to collect the related information about lion dancing troupe and students’ learning sheet of questionnaire, while the information from the troupe, interviews from troupe members and teachers, and notes derived from the practical participation and observation were conducted triangulation and cross validation to probe into the process and results by lion dancing troupe to be in response to the school’s teaching objective.Findings of this research indicate:1. The practice of lion dancing, a folk art, in junior high education will offer juveniles the opportunity to vent their excessive energy, thus helping students showing no interest in academic learning find their way to success.2. Under their willing and active learning, the troupe members have built harmonious relationship and spirit to bear hard work as they also have shared a sense of successful joy.3. The instructor’s instruction of artistry and teaching ideas has demonstrated positive contribution influencing students’ change.4. Quan Er Lion Dancing Troupe practiced under the campus student’s learning activity club has delivered its conviction in the heritage of traditional performing art as well as been awarded the honor of Taichung County Excellent Performing Art Team.5. Quan Er Lion Dancing Troupe has demonstrated its innovative footwork and artistic array, featuring the consummate artistry with characteristics of artistic performance and entertaining effect that earns the troupe high praises from the public.The Summary of all findings in this research will further put forward suggestions to Quan Er Lion Dancing Troupe, school and teachers, education authority and the subsequent researches in the future for further reference.Key Words: Folk Arts, Artistic Array, Lion Dancing, Student Club