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Dissertations / Theses on the topic 'Male dancers'
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Walmsley, Walmsley. "Masculinity and Dance : Male Dancers, Gender and Society in Stockholm, Sweden." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185745.
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This thesis examines the conditions for professional and aspiring professional male theatre dancers across two separate field sites in Stockholm, Sweden. By analysing these conditions I aim to discuss how hegemonic masculine social norms inform and affect the lives of these male dancers and the consequences of those norms for the wider male population. Through interview, unobtrusive observation and dance participation I will scrutinise the male experience of dance work and training in order to understand the lives of professional male dancers and their perception of themselves and their work, as part of a very small minority of men in Swedish society. Through a comparative analysis of dance and sport, I suggest that the stark gender imbalance in dance work and training is indicative of a larger pattern of hegemonic masculine social norms that stymie male social development and undermine wider societal efforts towards gender equality.
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McLeod, Shaun, and shaun mcleod@deakin edu au. "Chamber: Dance improvisation, masculine embodiment and subjectivity." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20061207.114658.
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Henderson, Bryant. "An Inquiry Into Men's Experiences In Collegiate Dance." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22683.
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This qualitative research study was designed to gain a deeper, more profound understanding of the lived experiences of collegiate male dancers. Through three phases of research, this study uncovered societal and familial obstacles collegiate male dancers often endure during their dance journeys, and describes how males navigate and transcend them. Extensive interviewing offers detailed glimpses into the lives of 9 male students who participate in collegiate dance programs. The study reveals participants’ dance experiences prior to and during college; recognizes and questions common factors that influence collegiate male participation in dance; and identifies how male dancers feel supported and/or unsupported by their program. An experiential workshop series applied and explored existing pedagogical suggestions offered by other scholars. Subsequently, a rehearsal and performance experience physically investigated emergent themes. Recommendations are offered on how to better encourage, cultivate, and support collegiate male dance populations through enhanced pedagogies and program improvements.
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Pettyjohn, Celine Lyn Doherty. "Swingers masculinities and male sexualities in ballroom dance /." abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1446434.
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Demenkoff, John Haynes. "Evolution and emergence of the masculinities| Epiphanies and epiphenomena of the male athlete and dancer." Thesis, Pacifica Graduate Institute, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3626049.
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To say that the masculinities are woven into the fabric of a pre-existing culture is not enough. One must go further and explore how culture itself is constituted by, or more precisely, constituted through the masculinities. As William Doty notes in his Myths of Masculinity (1993), culture not only produces but also is produced by stories. Ancient legends and sagas, like myths, are, to a large degree, perpetuated by the modern male dancer and athlete. However, as contemporary iterations of the masculinities, male athletes and dancers have evolved beyond the scope of myths and into new cultural forms. Their emergent story threads through this dissertation.
The masculinities represent a diverse array of possibilities and pluralities. What, then, holds them together as a coherent cultural force? This dissertation is, in large part, devoted to answering that question by way of a perspicuous inquiry conducted into a) the binarisms of gender, such as hetero-normativity and homophobia, b) the existential and archetypal nature of being, c) Cartesian mind-body dualities, and d) paradigms and practices of male athletes and dancers themselves.
In his The Structure of Scientific Revolutions (1962), Thomas Kuhn used "paradigm" to explain historical shifts in the practice of the hard sciences. Subsequently, Michel Foucault, in The Order of Things (1966), appropriated the word in a hermeneutical analysis of the human sciences. It is his unique exegesis of the history of knowledge that is used to track the historical arc of the masculinities.
This dissertation ultimately moves beyond the perspectives of Kuhn and Foucault to the work of feminist Judith Butler. In Bodies That Matter (1993), Butler maintains that one's gender is a cultural construct and that the process of gendering, though performative, is largely unconscious. If gender and sex are mere social constructs, where does that leave the nascent logos of an athlete or dancer's body? A counter-argument is made that in order to be coherent, the masculinities must possess, at minimum, a mindful body in addition to an embodied mind.
Keywords: Masculinities; Dancer; Athlete; Body; Discipline; Gender; Hero; Archetype; Dasein.
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De, Boer Kyle Dylan. "Queer transgressions : the choreographing of a male homosexual presence with reference to selected choreographers." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1009442.
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Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.
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Langston, Jeanne. "The Lived Experiences of Adult Male Trauma Survivors with Dance Movement Therapy." ScholarWorks, 2019. https://scholarworks.waldenu.edu/dissertations/6598.
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In the United States, approximately 7.7 million individuals are affected by posttraumatic stress disorder (PTSD) at any given time. Though women are likelier to develop PTSD symptoms, men are exposed to more traumatic events in their lifetimes. Empirically- supported PTSD options exist, however clinical application of these treatments may not consistently culminate in beneficial outcomes. Dance Movement Therapy (DMT) has demonstrated positive treatment outcomes for a variety of mental and physical disorders. Nonetheless, there is a lack of robust research related to the treatment experiences of men who have participated in DMT for trauma-related symptoms. The purpose of this phenomenological study was to explore this research gap. Focusing on adult male trauma survivors, the research question addressed the lived experiences of participating in DMT and the meaning ascribed to this involvement. Eleven adult male participants were interviewed via audio-recorded telephone interviews consisting of semistructured interview questions. Through a constructivist lens, the modified Van Kaam method of analysis was implemented revealing 4 emergent themes. The findings of this explorative study suggested positive PTSD symptom outcomes for all 11 participants including improvements in social belongingness, social acceptance, quality of life, and a reduction in symptoms of anxiety and depression. Accordingly, the findings of this research may help to advance social change through broadening clinical awareness of the beneficial neurogenic treatment advantages of somatic and creative interventions such as DMT for PTSD. Moreover, these findings may augment existing research related to movement- based treatment options for individuals coping with PTSD and trauma-related symptoms.
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Tholley, Ibrahim S. "Towards a framework to make robots learn to dance." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/9856.
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A key motive of human-robot interaction is to make robots and humans interact through different aspects of the real world. As robots become more and more realistic in appearance, so has the desire for them to exhibit complex behaviours. A growing area of interest in terms of complex behaviour is robot dancing. Dance is an entertaining activity that is enjoyed either by being the performer or the spectator. Each dance contain fundamental features that make-up a dance. It is the curiosity for some researchers to model such an activity for robots to perform in human social environments. From current research, most dancing robots are pre-programmed with dance motions and few have the ability to generate their own dance or alter their movements according to human responses while dancing. This thesis explores the question Can a robot learn to dance? . A dancing framework is proposed to address this question. The Sarsa algorithm and the Softmax algorithm from traditional reinforcement learning form part of the dancing framework to enable a virtual robot learn and adapt to appropriate dance behaviours. The robot follows a progressive approach, utilising the knowledge obtained at each stage of its development to improve the dances that it generates. The proposed framework addresses three stages of development of a robot s dance: learning ability; creative ability of dance motions, and adaptive ability to human preferences. Learning ability is the ability to make a robot gradually perform the desired dance behaviours. Creative ability is the idea of the robot generating its own dance motions, and structuring them into a dance. Adaptive ability is where the robot changes its dance in response to human feedback. A number of experiments have been conducted to explore these challenges, and verified that the quality of the robot dance can be improved through each stage of the robot s development.
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Robinson, Laura. "Performing the surplus, making a spectacle : male street dance crews on television talent shows." Thesis, University of Surrey, 2016. http://epubs.surrey.ac.uk/809720/.
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Since 2008, male Street dance crew performances on U.K. television have burgeoned in popularity due to their displays of athleticism and synchronicity. Despite growth in popular dance scholarship, however, this phenomenon has been overlooked, in accord with the dismissal of spectacle as decorative and superficial. This thesis addresses this absence by presenting a critical investigation into the construction and performance of spectacle by male Street dance crew performances on U.K. talent show competitions. It explores the key concepts that shape the notion of spectacle in relation to televised popular dance, and enquires into how crews manifest these in their performances. It also addresses the extent to which these performers have any agency to resist their status as spectacular. Drawing upon a screen dance analysis and utilising theoretical perspectives from late capitalism and visual theory, this thesis focuses on 58 performances from Britain’s Got Talent and Got to Dance. Analysis revealed that choreographic and cinematic strategies of virtuosity and excess results in the construction of ‘the surplus’, which in itself aligns with post-Fordist labour practices and spectacle as a condition of commodified society. Crews perform the surplus through their transgression of corporeal boundaries and by performing excess labour in order to register within the media spectacle of reality television. This is expressed through the structure and content of their cinematically edited choreography, their performance of cultural identity and the relationship between technology and the body. By performing the surplus, crews are reduced to consumable images through the erasure of their histories, labour systems, and the displacement of the human. Dancers challenge this representation, however, through emphasis on choreographic themes and televised rhetorics of physical effort, brotherhood, and human emotion. It is, therefore, the thematic material and the fleshy humanity of the dancer that both registers and resists these performances as spectacular.
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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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Grogan, Jayden. "Embodied sampling as a process of developing an individual moving identity for male dance professionals." Thesis, Queensland University of Technology, 2020. https://eprints.qut.edu.au/205869/1/Jayden_Grogan_Thesis.pdf.
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This research project investigated individual Australian professional male contemporary dancers’ creative practice, to consider how the concept of ‘moving identity’ develops over a professional dance career. The results from the research study demonstrated that each ‘moving identity’ of the three independent Australian professional male dancers interviewed developed in multivariate ways over their careers as dance practitioners. Established inside the researcher’s practice-led research were a publicly archived series of choreographic scores and improvised online videos entitled 'The Museum of Curiosities'. In conjunction, a resourceful toolbox of 'embodied sampling' strategies was developed from the researcher’s creative practice when investigating his moving identity.
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Richard, Byron Marvin. ""DADDY, ROOT ME IN": TETHERING YOUNG SONS IN THE CONTEXT OF MALE, INTER-GENERATIONAL, CHILD-CENTERED, DANCE EDUCATION." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/37316.
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DancePh.D.
This study of the dance experiences of related men and boys pursues overlapping and related research goals. It is an investigation about reflective teaching practice in the process of developing an emergent curriculum for this multi-generational group of men and boys. It is an investigation about the communicative moments between participants through which members expressed their pedagogical regard for each other, their needs, desires and their dance learning. And it is an investigation about this group of men and boys as an example of aesthetic community, a community engaged in expressing and mediating individual style and dispositions through a group process and resulting in deeply shared aesthetic meanings and group style. Fourteen participants in six family groups danced together on seven Saturdays in a small community north of Philadelphia, Pennsylvania. Participants ranged in age from five-years old to more than forty-five years old. Dance curriculum was designed in reference to the teacher's knowledge and experience of creative movement for primary aged children, and in reference to the teacher's dance performance and choreographic experiences and experiences of parenting. Based on detailed transcriptions of two-camera video documentation of the seven sessions, a narrative analysis thickly describes significant movements of participants, before, during and after the sessions, as well as interactions and participants' utterances. Post-session captioned drawings are discussed in detail following each session. Major findings are then presented as related to three research goals: reflective practice for emergent curriculum design, intersubjectivity as it occurred in this example of inter-generational dance education and an examination of this group of learners as an example of aesthetic community. Findings are discussed in relation to relevant literature and recommendations posed for further research.
Temple University--Theses
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Staszel, John Paul. "Beyond The Thong: Contexts, Representations, and the Performances of Erotic Masculinities in Male Strip Show(s)." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1491579562554002.
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Keller, Matthew J. "DANCENOISE DECLARES OPEN SEASON ON THE DOCILE BODY: DANCE STUDIES AND FEMINIST THEORY." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1493393510333692.
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Kempton-Jones, Jessica. "“Tell me about it, Stud”: Queering the Dancing Male Body in Musical and Dance Films of the 1970s and 1980s." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33830.
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Heterosexuality is coded on-screen in many musical films from the last century as a “celebratory ideal.” 1 This thesis explores the queer possibilities of the so-called heterosexual male in three films spanning a decade from 1977 with Badham's Saturday Night Fever and Grease (Kleiser, 1978), to 1987's Dirty Dancing (Ardolino). Each of the films I have examined foreground heterosexual romance. However, by looking at the male body in these films I have argued for the ways in which the male, dancing body works against these films' assertion of a narrative heterosexuality. I have shown how these films can be read as queer by the way they highlight the performativity of the male body, and through their camp aestheticism which complicates normative ideas about desire, sexuality and gender. I interrogate claims emerging from work in musical genre theory, which describes the musical as “the most heterosexist of all the Hollywood filmic forms.”2 By examining existing theory on the role of the camp sensibility within musical film I argue that there are ways that the musical films analysed dismiss their narrative heteronormativity and instead mark themselves as queer. The films do this by aligning the performativity of dance with the queer discourse that uses as its cornerstone the notion of the performativity of gender and sexuality. I have argued that these films portray an embattled masculinity coming to the fore within society (and cinema) in the 1970s, into the 1980s. The chapters in this thesis are organised according to the analyses' of the three films. The chapters explore themes of camp aesthetics by understanding camp's tendency to disrupt the clear disparities between ‘being and seeming'.
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Smith-Autard, Jacqueline Mary. "Changes and developments in dance education from 1965-1996 and an evaluation of the contribution made by Jacqueline Smith-Autard." Thesis, De Montfort University, 1996. http://hdl.handle.net/2086/10672.
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This exposition accompanies twenty items of published materials submitted in partial fulfilment of the Ph.D. degree. It demonstrates the consistency of direction in my published contributions to the changes and developments in dance in education over a thirty year period. All the publications focus on content and methods of teaching dance and therefore address the perceived needs of teachers and students. A critical review of my work considers the relevance of my publications in this practical dance context. The evaluation of my role in developing and changing dance pedagogy takes account of the constant two way interaction between my reflective research in the practical dance context and the influences of : a) evolutionary developments in dance in education b) literature focused on content and methodologies for dance in education, and c) the innovatory practices of key teachers of dance. The exposition will show how these influences have affected my practice and publications. The overall aim of the exposition is to evaluate my publications as contributions to changes and developments in the practice of dance teaching. The exposition also aims to demonstrate the validity of my publications as responses to the wider problems and issues in dance in education prevalent from 1965-1996. The exposition is presented in four chapters. The introductory chapter identifies the main intentions and signals the practitioner bias of the study. Chapters 2 and 3 take a chronological path through the time span and evaluate my publications in relation to other publications which also focus _on content and methods of teaching dance in education. These chapters are prefaced with a chronological "map" to help the reader discern the interrelationships between the evolutionary developments, the writings of others and my publications. Chapter 4 is particularly concerned with evaluation of my main contributions to the changes and developments witnessed in dance teaching and learning in education during the period 1965-1996. Here, a consideration of the influence of key practitioners on my developing thinking and practice constitutes an important element in the evaluation of my contributions. The practitioner orientation of the exposition will possibly benefit from substantiation of my contributions in developments in dance in education beyond the submitted publications. To this end, the testimonials in Appendix 3 lend greater objectivity to the study.
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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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Smith, Jacqueline Nichole. "Fairy Tales en pointe: Fairy Brides, Ballerinas, and Ballets that Made the Tale." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8968.
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The relationship between ballet and fairy tale is by no means a new or unique discovery—to either dance history or literary studies. However, aside from relatively brief mentions of ballets as examples of fairy-tale adaptation, ballet's relevance to fairy-tale studies has been somewhat undervalued. While scholars often relegate ballet to a smaller part in fairy tale's influence through the performing arts, fairy-tale ballet deserves to have its own, independent academic conversation because ballet contributes uniquely to both fairy-tale history and canon. Ballet can be credited with both giving new life to an old tale and creating a brand new one through an amalgamation of formalistic fairy-tale motifs and figures—particularly when it comes to female figures. Through an analysis of nineteenth-century Romanticism, fairy-tale form, and the narratives created by three of the most famous fairy bride ballets--La Sylphide, Giselle, and Swan Lake--we can distinguish how Romantic ballet affects fairy-tale studies because of the special conditions this "feminized" art placed on narrative and character. The pervasion of the fairy bride character and motif in ballet indicates a potentially unique tale type, and these three fairy brides together reveal a different dimension to our view of female fairy-tale characters by actively shaping their own stories according to Romantic values that place them outside of traditional fairy-tale roles. Thus, fairy-tale ballets significantly substantiate Romantic imagination beyond the bounds of literary form, and therefore both emphasize and nuance the fairy-tale female paradigm by making unique contributions to the fairy-tale canon.
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Goodall, Harrison M. III. "The Choreopolitics of Liberation and Decolonization." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/160.
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This thesis examines dance as a means of social and political revolt in the AIDS epidemic. The course of the AIDS epidemic within the United States was inexorably shaped by the way dancers and choreographers used their art form to rebel against concepts of masculinity, sexuality and disease transmission. Through confronting their audiences with the reality of their loss and humanizing themselves and their loved ones that passed away, dancers were able to change the image of the epidemic and push for necessary political and social reform. This paper also analyzes the ways that norms of masculinity and the stigma of effeminacy in modern society developed, through tracing the development and disappearance of the male dancers on stages across the world. This examination explores the connection between dance and queerness, as well as effeminacy and sexuality, and calls into question the ways in which our bodies and movements are colonized. These were concepts that were all explored during the AIDS epidemic as well as dance and social revolutions through out the earlier part of the 20th century.
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Silva, Reynaldo Otero da 1962. "Kinderstadt - A cidade das crianças : uma escola de vida." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/254171.
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Orientador: Márcia Maria Strazzacappa HernandezDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-26T07:22:05Z (GMT). No. of bitstreams: 1 Silva_ReynaldoOteroda_M.pdf: 7391562 bytes, checksum: 19c2606460903c75b28a6a6104145605 (MD5) Previous issue date: 2014
Resumo: O objetivo geral desta dissertação é o de analisar a proposta do trabalho original da Kinderstadt - A cidade das crianças -, por sua relevância como instrumento transformador da realidade em seus múltiplos aspectos. A Cidade das Crianças, realizada bianualmente desde 1990 na cidade de Bolzano, Itália, se caracteriza como um espaço de educação não-formal e terão destaque no trabalho atividades realizadas no setor Tanzshule - Escola de dança. Dentre os objetivos específicos, busca-se compreender (i) a relação entre a simulação do real, pela brincadeira, e os processos de aprendizagem; (ii) como se desenvolvem valores culturais, psicológicos, políticos e éticos, que começam a ser formados na infância e que orientam a vida dos cidadãos na fase adulta e (iii) contribuir para a reflexão crítica acerca de metodologias que possam tornar a escola um espaço que aproxima o ensino à vida real, por meio de atividades que sejam significativas para as crianças
Abstract: This study aims to analyze the conception of the original work of Kinderstadt ¿ Children¿s City ¿ due to its relevance as an instrument capable to transform the reality in its multiple aspects. The Children¿s City, biannually held since 1990 in the city of Bolzano, Italy, is characterized as a non-formal education environment and also highlights the work and activities in Tanzshule sector - Dance School. Among the main goals, aims to understand (i) the relation between the simulation of the reality and learning by games; (ii) how cultural, psychological, political and ethical values, which begin to be formed in childhood and that guide the lives of citizens in adulthood, develops and (iii) to contribute to the critical analysis of methodologies that can make the school an environment that brings education to real life, through activities that are meaningful to children
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação
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Brown, Landon. "Beat Out Your Own Rhythm: A Study of Public School Step Teams' Influence on Academic Identification and Academic Motivation Among African American Males." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1523967820981611.
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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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Devineau, Camille. "En présence des génies : musique, danse et joie rituelles dans la performance des Masques Blancs chez les Bwaba du Burkina Faso." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100162.
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Le fonctionnement du rituel de la danse des masques blancs chez les Bwaba du Burkina Faso est sous-tendu par l’articulation de trois modes d’expression (musical, dansé et émotionnel) qui mettent en forme son enjeu principal : rendre manifeste une relation entre humains et génies. Bien que rattaché au culte principal des Bwaba, le do, c’est son affiliation au groupe des griots et le lien qui y est développé avec les génies qui priment. En offrant un espace intermédiaire d’interaction entre les dimensions du visible et de l’invisible, ce rituel rend perceptibles certains aspects de la relation qu’entretiennent les griots avec les génies. En mettant conjointement en œuvre les systèmes musicaux et dansés auxquels sont adjoints plusieurs types de manifestations émotionnelles de joie stipulées par le rituel, les participants peuvent faire l’expérience de la présence et de l’implication bienveillante des génies dans le rituel. Tandis que la musique ancre le rituel dans la dimension visible, la danse masquée permet l’intrusion de l’invisible dans la dimension visible des humains. Pour sa part, l’expression émotionnelle de joie garantit l’aspect bienveillant, recherché dans ce rituel, de la relation entre humains et génies. Musique, danse et expressions émotionnelles forment alors un ensemble qui garantit la réussite plus ou moins grande d’une danse de masques blancs par un ressenti concretThe interplay of three expressive modes (music, dance and emotional display) underlie the workings of the White Mask dance ritual among the Bwaba people of Burkina Faso, giving shape to its main concern which is to make manifest a relationship between humans and bush spirits. Although tied to the principal Bwaba cult of the do, it is this ritual’s close association with griots and the connection with bush spirits that it puts into effect counts the most. By providing an intermediary space allowing for interactions between visible and invisible realms, this ritual renders certain aspects of the relationship between griots and bush spirits perceptible. By jointly implementing musical and dance forms, as well as a number of stipulated expressions of delight, White Mask performances allow participants to experience bush spirits’ presence and their benevolent involvement. While music anchors the ritual in the visible realm, the masked dance allows the invisible to intrude into the visible, human one. As for expressions of delight, they bear witness to the benevolent nature of the relationship between humans and bush spirits that this ritual seeks to bring about. Music, dance and emotional expression, then, compose a totality whereby the greater or lesser success of a White Mask performance can be appreciated in terms of concrete feelings
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Li, Zihao. "Adolescent Male Dancers' Embodied Realities." Thesis, 2010. http://hdl.handle.net/1807/24468.
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This dissertation looks at adolescent male dance students who challenge the dominant perceptions of masculinity by participating in dance, an art form which has been subjected to feminine and homosexual stereotypes.
With a multi-methodological approach—qualitative, arts-informed, autobiography, interviews, videotape, and performance—this research investigates and explores the largely unknown realities regarding adolescent male dance students; why they decide to take dance; what makes them continue or stop dancing; how their perceptions of dance are transformed over time; how they feel when they are dancing; the realities they embody in studio and on stage; their message to the public about who they were, who they are, and what they want to be in and through dance.
The researcher challenges the socially constructed epistemology that dance is merely an entertainment while exploring the relationship between mind and body; gender, race, and identity; literature and literacy; physical education and dance; the professional and the novice; the hows and the whys; female and male dance educators; dance pedagogy (theory) and curriculum delivering (practice); and the association of homosexuality and heterosexuality in the context of dance and its effect on adolescent male students’ willingness to dance.
This study shows that families, friends, teachers, school administrators, dance class environment, media (So You Think You Can Dance), and technology (internet) have all created various levels of impact on adolescent males’ decision to participate in dance at a high school. Data and implication from this research can serve as a catalyst for future studies on adolescent male dance students. Findings can also be applied to dance programs at all levels, curriculum development, and teacher education. This electronic dissertation encompasses graphs, photos, audio and video clips, webpage links, and even a full-length documentary movie to enhance the research finding and maximize the power of a multimodal design (Jewitt & Kress, 2003).
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Reeves, Megan Moya. "Male ballet dancers' gender identity construction : sexuality and body." Thesis, 2012. http://hdl.handle.net/10539/11874.
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Male ballet dancers are often constructed as being feminine or homosexual (Bailey & Obershneider, 1997; Phillips, 2008), attributes that do not conform to the broader social ideas of what it means to be a masculine male in South Africa. Therefore, the space occupied by male ballet dancers in South Africa is one that contradicts the patriarchal ideas of masculinity and provides further insights into constructions of masculinity that do not conform to essentialist understandings. Therefore, the aim of this research report was to investigate the ways in which male ballet dancers construct their gender identities, sexualities and bodies within this contradictory space. A purposeful sample of four classically trained male ballet dancers over the age of 18 from Johannesburg, South Africa, was invited to participate in the study by means of snowball sampling. Data were collected using semi-structured interviews and were examined using narrative analysis. It was found that male ballet dancers construct their gender identities through their bodies by virtue of their performances. They believe that by linking ballet to other masculine activities, such as sport, they can better negotiate their gender identities in a context where their profession is viewed as inferior, feminine and homosexual. The findings of this research have contributed to a better understanding of gender in an alternative domain, where the ways in which male ballet dancers construct their gender identities are challenged.
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Callison, Darcey. "Dancing masculinity for Hollywood : the American dream, whiteness and the movement vocabulary within Hollywood's choreography for men /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51686.
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Thesis (Ph.D.)--York University, 2008. Graduate Programme in Communications and Culture.Typescript. Includes bibliographical references (leaves 280-291). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:NR51686
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Renzo, Adrian, University of Western Sydney, College of Arts, and School of Communication Arts. "Love in the first degree : handbag dance music and gay male culture." 2007. http://handle.uws.edu.au:8081/1959.7/11830.
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This thesis explores the links between handbag dance music and gay male culture. Handbag (colloquial British slang for ‘uplifting,’ ‘girly’ remixes of Top 40 songs and similar club material) is frequently derided within club culture for being predictable, formulaic, and ‘commercial.’ However, the same music is hugely popular within gay male clubs. Significantly, handbag tends to retain clear song structures, as opposed to the more open-ended instrumental ‘tracks’ which are the norm in electronic dance music. Why would a marginalised group adopt such a low-status music as its own? Why does handbag have such low status in the first place? This thesis argues that the field of ‘electronic dance music’ is rife with distinctions between ‘credible’ dance music and ‘commercial trash,’ and that these distinctions are frequently used to downplay song-based genres. The pleasures of handbag can be better understood if we pay attention to the ways that ‘songs’ (rather than instrumental ‘tracks’) have always played an important role in club music. Love in the First Degree questions an emerging orthodoxy in sociology and popular music studies: that issues of identity can only be approached ethnographically. By interrogating the music itself, the thesis explores the ways in which musical conventions can be deployed to arouse desire on the dance floor—and the reasons that these musical strategies are particularly useful in gay male clubs.Doctor of Philosophy (PhD)
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Renzo, Adrian. "Love in the first degree : handbag dance music and gay male culture." Thesis, 2007. http://handle.uws.edu.au:8081/1959.7/11830.
Full textAbstract:
This thesis explores the links between handbag dance music and gay male culture. Handbag (colloquial British slang for ‘uplifting,’ ‘girly’ remixes of Top 40 songs and similar club material) is frequently derided within club culture for being predictable, formulaic, and ‘commercial.’ However, the same music is hugely popular within gay male clubs. Significantly, handbag tends to retain clear song structures, as opposed to the more open-ended instrumental ‘tracks’ which are the norm in electronic dance music. Why would a marginalised group adopt such a low-status music as its own? Why does handbag have such low status in the first place? This thesis argues that the field of ‘electronic dance music’ is rife with distinctions between ‘credible’ dance music and ‘commercial trash,’ and that these distinctions are frequently used to downplay song-based genres. The pleasures of handbag can be better understood if we pay attention to the ways that ‘songs’ (rather than instrumental ‘tracks’) have always played an important role in club music. Love in the First Degree questions an emerging orthodoxy in sociology and popular music studies: that issues of identity can only be approached ethnographically. By interrogating the music itself, the thesis explores the ways in which musical conventions can be deployed to arouse desire on the dance floor—and the reasons that these musical strategies are particularly useful in gay male clubs.
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Chen, Chih-hao, and 陳志豪. "Sports and Gender Stereotypes: A Case Study of Male Belly Dance Instructors." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/10230331891830907654.
Full textAbstract:
碩士國立體育大學
體育研究所
99
The purposes of this study is to find how gender stereotypes and masculinities affect male belly dance instructors’ learning and coaching, to investigate the representation and the relationship between gender stereotypes and masculinities, and to examine the status of the male dancers in belly dance. Male belly dance instructors are the research subjects. The researcher employs qualitative research methods, including participant observation and in-depth interview to collect data, including pictures, videos and interview transcripts. The results show that (1) male belly dance instructors are usually the professionals in other dances before becoming belly dance instructors; (2) the obvious gender stereotyping is found in the belly dance studios, even in the male coach’ studios, male students are easily squeezed out by others and it is hard for them to continue the classes; (3) the professionalism of male belly dance instructors can avoid gender stereotypes when coaching; and (4) the diversity of belly dance and its course design can make breakthrough in gender stereotypes and attracts more male belly dancers and students.
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Ho, Szu-Ying, and 何思瑩. "Growing Up is Hard:The Study of Male Socialization of Dance on My Grave." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/76761753690914983365.
Full textAbstract:
碩士國立臺東大學
兒童文學研究所
101
Aidan Chambers’ Dance on My Grave, published in 1982, with ambiguity of words, is considered a literary work of Young Adult Literature. Proved by Aidan Chambers that homosexuality is never a subject, Dance on My Grave has still received comparatively much attention on the gay identity of the boy in the book, ignoring the boy who actually considers himself to a male not a gay. This thesis tries to base on the text, takes the gay identity and none-masculinity of the main character as the differences among males, aims to examine the socialization process the male hero, Hal, from the cultural code, and the individual’s resistance against the society, to reflect the commonalities of our human hearts in Dance on My Grave. And it finds out that unearth the grave, is the bitterness in a man’s coming of age built by the relinquishment of one’s ambiguous self, and the surrender to gender order.
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Sacchi, Mauro, and 袋摩道. "Open, Make Space, Transform -- The Ritual of Dance-Theater Practices." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/hxeq8w.
Full textAbstract:
碩士國立臺北藝術大學
舞蹈研究所表演創作組
101
Life is transformation and transformation requires a change of spatial relationships, an opening. Since time immemorial, ritual—personal, societal transformation—has always been physical, requiring an action, the physical manifestation of an intention, of a yearning, whether symbolic or literal. The transformation effected by ritual begins as bodily action, and spreads to the ritual subjects’ (and witnesses’) consciousness; it begins with a physical choice, and affects relationships, status, attitude, life. Based on these postulates, on the conviction set forth by Jerzy Grotowski that theatre is exchange, sharing, an opening to one’s self an others, and inspired by the writing and work of artists/scholars interested in this opening—Eugenio Barba, Grotowski, Steve Paxton, Lin Lee-Chen among others—this thesis attempts to connect psychophysical dance-theatrical disciplines that are inherently and intimately homologous, affirming and discussing their ritual nature. Arguing that ritual is always a spatial transformation which begins (and results) in opening, it presents three disciplines—Grotowski’s early physico-theatrical training and research, Lin Lee-Chen’s technique and approach toward performance and life, and the practice of Contact Improvisation—as compatible, revolutionary and highly valuable methodologies aimed at shaping a more plastic, organic performative body-mind, less hindered by personal and cultural habits and blockages, more aware, adaptable, at ease. Expanding upon Richard Schechner’s efficacy-entertainment dyad, extending beyond, betwixt and between its ritual-theatre continuum, this thesis argues that when theatre (dance) is practiced as something beyond mere spectacle, as a live, honest exchange, a sharing of in-formation—putting into form messages and meanings through the performers’ bodies—then it is ritual, from preparations to public sharing. In the space for beholding (theatre’s Greek root, theasthai-tron) what is witnessed and the witnessing itself have the potential to transform spatial, personal, societal relationships.
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HUANG, HSI-JUI, and 黃璽瑞. "A study on gender experiences of eiementary and junior high school male students in dance sport." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/j45etw.
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碩士國立高雄師範大學
性別教育研究所
105
Abstract With the discourse of dance sport is "sissy", how do elementary and junior high school male students’ experience of dance sport relate to gender stereotypes? This research aims to analyze the interaction among elementary and junior high school male students’ dance experience and gender stereotypes in their daily lives of schools. The research adopts qualitative approach.The research methods contain interviews of ten male students who join dance sport and participative observation. The major conclusions of this research are as follows. First,as regards to motivation, male students' personal interests are greater than those of study, but they are influenced by the traditional social male role expectation and Taiwan's education system, which will eventually break their way towards dance sport. In the course of learning, male students learn the process like a caterpillar into a butterfly, from the hardships of frustration slowly learning, accompanied by peers, getting better, until the stage blooming confident glory. Senced,the participants are divided into three types: "Emotional", "Clever" and "Masculine". Among them,the type of "Emotional" male students are more likely to suffer from gender distress in their daily lives, they are the only way to turn through the idea of their own advantages into the dance sport and daily life among the self-confidence while more comfortable to show the body, but the resistance against the mainstream discuse has not yet seen.
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Hsu, Shih-Han, and 徐詩涵. "The Teaching Research of Ethnic Dance in Taiwan─A Case Study of 〝SYLLABUS FOR CRADED EXAMINATION ONCHINESE DANCE〞To Make of Folk Dance Class." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/58447205697187570243.
Full textAbstract:
碩士國立臺灣藝術大學
戲劇學系
100
After 1949, Taiwan folk dance began to develop and entered into the embryonic period of its development. The classical dance that this paper is going to discuss belongs to the folk dance. Its development was based on the drama figure, and with the study on music and dance in Han and Tang Dynasties, the classical dance has been developed to some degree. Especially that in recent years, exchanges and interactions between Chinese Mainland and Taiwan on dance has increased. The training method of "Beijing ballet style" which was developed by Chinese Mainland in 1956 was introduced to Taiwan. After then difficult external body movements were added to this training method so as to touch the audience's senses. This integration also made the subsequent dancer training turn its focus from the appreciation of body beauty, cultural heritage and connotation to the technical requirement, which made the classical dance lose its way during its development. In light of this phenomenon, this research make Chinese official dance teaching materials ─ " SYLLABUS FOR CRADED EXAMINATION ON CHINESE DANCE " as the object of study. This set of teaching materials includes three parts—basic skills, physical movement and rhythm and Chinese Folk Dance. This research chooses the dance training part which contains the physical movement and rhythm as the example for analysis and explores the cultural heritage and physical connotation of classical dance by analyzing this set of materials’ construction, content and its application in and impact on Taiwan. Research methods used in this paper includes the analysis of literature and materials, in-depth interviews and analysis of creation process of Chinese classical dance. And by virtue of cross-comparison of multi-party research and analysis, this research clarifies the general mixed perception of folk dance, finds out the source of classical dance, knows its vein of development so as to ensure the preservation of its essence and guide its future development, and finally turns back to the implementation of the this set of materials in Taiwan, and then gives advice and reflection, which is the main purpose of this research. According to the results of this study, it is found that the application of this set of materials in the classroom of folk dance do not achieve great results, which is because there are many problems in its promotion. But despite of these implementation problems, this set of material indeed has something that is worth learning because the teaching of Taiwan folk dance focuses more on martial arts in general than on the physical movement and rhythm of classical dance, which is why students coming from the classroom of folk dance have weaker performance in physical movement and rhythm. Therefore, if this set of materials can be used together with basic skills courses, it can further help improve the dance performance of students. In this way not only the national dance teaching quality of Taiwan can be enhanced, learners can also learn that dance performance is more than physical movements. It contains various dancing arts like dancing emotions, breath rhythm and the transmission of the mood of movement. Keywords: teaching of folk dance; classical dance; physical movement and rhythm, drama figure.
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Hsieh, Shu-Fang, and 謝淑芳. "The Effects of Aerobic Dance Training on Physical Fitness of Industrial High School Male Students with Mild Mental Retardation." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/52393272526647878867.
Full textAbstract:
碩士國立臺灣師範大學
體育學系在職進修碩士班
91
The main purpose of this study was to investigate the effects of 12-week aerobic dance training courses on physical fitness of industrial high school male students with mild mental retardation. The subjects of this study consist of 21 industrial high school students, average age=16.4 ±0.6 years, with mild mental retardation. Eleven students had received aerobic dance training and the other 10 students took general physical education (3 days per week). Before and after the experiment, all of the students were asked to take the physical fitness tests, including cardiorespiratory endurance; muscular fitness; flexibility and body composition. The aerobic dance training course was conducted 3 days per week, 45 minutes each day and lasted for 12 weeks. The exercise intensity was set at 55-70% and 70-80% max heart rate of first 6 weeks and later 6 weeks, respectively. The collected data was analyzed with t-test, and the results were as followed: 1.After 12-week aerobic dance exercise, the students who have taken aerobic dance training courses improve significantly in their physical fitness, including 1600 run and walk; sit up; standing long jump; sit and reach and body mass index. (p＜0.05) However, the students taking general physical education do not have significant improvement in their physical fitness. (p＞0.05). 2.The items of physical fitness of students receiving aerobic dance training courses are better than those of students taking general course. However, there was no significant difference between two groups. The results show that the 12-week aerobic dance training courses of industrial high school male students with mild mental retardation have positive effects on their physical fitness.
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Ching-Ting, Chen, and 陳敬亭. "The Study of Career Development and Career Decision-making Factors of Dance-Talented Males." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/87051190357778760593.
Full textAbstract:
碩士臺北市立教育大學
特殊教育學系碩士班資賦優異組(日)
98
The purpose of this study was to explore the career development and career decision-making factors of nine dance-talented males in Taiwan. The data was colleccted from in-depth interview and participant observation. A semi-structured outline was used to serve as a reminder or guide to the researcher during interview. Their career development and career decision-making factors in their professional fields were analyzed. The major findiings were as following: A. Career development Most of the parenting styles from the parents of the subjects are mostly democratic, besides, they supported their children's decision. The subjects showed excellent talent in dance at different stages of their school year. They were affected by their teachers' encouragements and peers' support. Most of the subjects engaged in dancing professional, while some of them found other job than dancing. Nevertheless, all of them had met great favor from others when applying for jobs, which helped them work steadily till now. B. Career decision-making factors The decision-making factors from the subjects were affected by personal, family, school, and society In personal factor, the ability and passion toward dancing, the economic status, body condition, and sports injuries affected the subjects' decision-making as a dancer. They had great enthusiasm toward dancing, which helped them overcome difficulties from the work. Knowing the limitation of being a professional dancer, they also tried to find second career. In family factor, their economic status, the parenting styles and support from their parents, and the gender differences affected their decision-making as a dancer. In school factor, the mentorship, teachers' professional and enthusiasm in dancing affected their decision-making as a dancer. In social factor, the positive interaction they experienced with their peer groups, the appreciation and promotion they recieved affected their decision-making as a dancer. In summary, the researcher had try to construct a career development profile of nigh males in dance-talented. Finally, based on the findings of this study, the researcher makes some suggestions for family, dancing teacher, school career curriculum, the males in dance-talented, and future studies. Key words: males in dance-talented, career development, career decision-making factors
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KUO, CHIA-YEN, and 郭佳燕. "Enhancing Agility and Coordination: A Study of Applying Hi-Low Impact Aerobic Dance to First Male College Division Basketball Team." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/be3q7m.
Full textAbstract:
碩士國立臺灣藝術大學
舞蹈學系
107
The thesis intends to examine agility and coordination of male basketball team in NTUA Municipal College after applying Hi-Low Impact Aerobic Dance to the training program. This study uses qualitative research method, inclusive of participant observation, data collection technique, interview method, questionnaire method, and induction. I find that Hi-Low Impact Aerobic Dance, especially High-Low Aerobic, can increase coordination and agility of the basketball players. High-Low Aerobic focuses on moving upper and lower limbs, through Cha Cha Dance, Slides, and Jab Steps. The upper-limb movement is a non-inertial but high intensity exercise, when gradually learned, is conducive to better performance of the basketball players in terms of coordination and agility, and can improve their cardiovascular function. For comparative analysis, I use Wilcoxon Singed Ranks Test, with a stress on the nonparametric test. I find the pre-test and post-test differ statistically on shuttle run, SEMO agility and coordination, for basketball players after High-Low Aerobic. Its benefit of enhancing agility and coordination is therefore evident.
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Jagošová, Anna. "Slovácký verbuňk v interpretaci dětských tanečníků." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-415269.
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Anna Jagošová, Slovácký verbuňk v interpretaci dětských tanečníků Abstract The presented thesis deals with the phenomenon of the male solo dance otherwise known as "The Slovacko Verbunk" and its contemporary interpretations performed by child dancers. This phenomenon is a modern element of folklorism and can be observed Moravian Slovakia region in the past two decades. The main theme of the research and subsequent analysis is the form and performance of "Verbunk" by child dancers. Marginal attention is also paid to their own opinions and attitudes towards "Verbunk" as it is traditionally performed by adult male dancers. Moreover, the thesis deals with "Národní přehlídka dětských verbířů," roughly translated as "The National Exhibition of the Child Verbunk Dancer." This exhibition is organized in cooperation within The International Child Folklore Festival called "Kunovské léto" (The Summer of Kunovice) which has undoubtedly influenced the phenomenon of children reinterpreting "Verbunk" dance the most. The backbone of the thesis is a qualitative research based on interviews conducted mostly with the adults involved in the phenomenon - tutors and adult dancers of "Slovacko Verbunk," leaders of the children's folklore ensembles and the children's parents. The aim of this thesis is not only to describe the...