Dissertations / Theses: 'Sex in dance'

1

Schwartz, Adam M. "Fat Boy Private Dance." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2108.

Abstract:

After spending a decade losing weight following a traumatic high school experience, Mark has a great life with a beautiful girlfriend, good job which he's passionate about, and a wonderful group of friends. Everything changes when his high school bully reenters his life and shakes his confidence to the point of developing a severe case of body dysmorphia at a time when it's crucial he's confident, as he promised to do a private dance for his girlfriend.

APA, Harvard, Vancouver, ISO, and other styles

2

Poona, Sobhna Keshavelal. "Dance and sexual politics some implications of the status of women in selected dance forms." Thesis, Rhodes University, 1992. http://hdl.handle.net/10962/d1002377.

Full text

Abstract:

This thesis explores, from a feminist perspective, some implications on the status of women in selected dance forms, and addresses the perceptions of women as 'inferior' and 'subordinate'. One of the intentions behind the work was, indeed, to challenge prevailing perceptions and create an awareness of sexism, capitalism and patriarchy, especially for the uncritical and uninformed who have become its victims. Part 1 offers an analysis of the premises upon which social, political and economic inequality are founded and consolidated, with specific reference to sexual inequality and sexual prejudice. Utilising a Marxist-feminist and semiotic approach, the machinations of the traditional mass media are linked to negative imaging of the female body in support of the sexist, patriarchal, capitalist male manipulator, who benefits from women's subordinate social status. Part 2 addresses the issue of sexual politics, and the implications for dance research and performance. The researcher offers a descriptive analysis of four specific dance forms, which serve to highlight the socialisation and educational processes that shape our perceptions and instruct our lives. A set of questionnaires was sent to fourteen autonomous dance institutions, including those attached to national performing arts councils. The thesis concludes with a summary of the results of the questionnaires that were distributed amongst female dancers, dance students and choreographers. The researcher questions our culture's preoccupation with the female body image, and posits the urgent need for an assessment of this situation, and an education which will create a better understanding and a more harmonious climate for development.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Morrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education /." Available from the University of Aberdeen Library and Historic Collections Digital Resources, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?application=DIGITOOL-3&owner=resourcediscovery&custom_att_2=simple_viewer&pid=59614.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Morrissey, Sean Afnán. "Dancing around masculinity? : young men negotiating risk in the context of dance education." Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=59614.

Full text

Abstract:

This thesis examines the intersection between masculinity and risk in educational settings. It draws on an intensive examination of the field of dance-education in Scotland and an extended period of research with YDance, Scotland’s only state-funded dance education company. Data was gleaned from a combination of qualitative and ethnographic methods including unstructured interviews, planned discussion groups and participant observation. The thesis synthesises the work of Ulrich Beck and with micro-level approaches popular in studies of gender and education through Bourdieu’s meso-level theories of society and social actors. It uses Bourdieu in new ways, both to reconcile these concerns of structure and action and to overcome key problems that have been identified with the work of authors like Butler and Connell. Substantively, the thesis draws attention to the risks which so-called ‘feminised’ activities like dance pose to young masculine identities and the role played by schools in reproducing and tacitly authorising inculcated assumptions about dance, gender and sexuality. The thesis also investigates the various ways in which dance educators attempt to challenge these reified associations and considers some of the unintended consequences of these practices. Despite ostensibly challenging gender stereotypes, many of the steps taken in order to engage boys in dance at school result in the reproduction of strong versions of masculinity and femininity. In attempting to recode dance as a ‘acceptable’ activity for young men, dance educators often disavow the contribution of gay and effeminate men to the art form, downplay the merits of genres like ballet which is perceived to carry particularly strong associations of femininity and homosexuality, and engage – albeit subtly – in misogyny and homophobia. Dance educators are often therefore unintentional agents of the reproduction of inculcated masculinities and gender inequality.

APA, Harvard, Vancouver, ISO, and other styles

6

Herridge, Elizabeth J. "The role of polyandry in sexual selection among dance flies." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/25013.

Full text

Abstract:

Elaborate sexual ornaments evolve because mate choice exerts strong sexual selection favouring individuals with high levels of ornament expression. Consequently, even at evolutionary equilibrium, life history theory predicts that ornamental traits should be under directional sexual selection that opposes contrasting selection to reduce the costs associated with their maintenance. Otherwise, the resources used to maintain ornaments should be used to improve other life history functions. Elaborate female ornaments have only evolved in a few species, despite females commonly experiencing strong sexual selection. One explanation for this rarity is that male preferences for female ornaments may be self-limiting: females with higher mating success become less attractive because of the lower paternity share they provide to mates with every additional sperm competitor. The unusual species in which female ornaments do occur can provide rare insight into how selection can favour the expression of expensive characters in females despite their costs. The main goal of my thesis was to determine how sexual selection acts on exaggerated sexual ornaments, and give new insight into how these ornaments may have evolved, in spite of the self-limiting nature of selection on male preferences. To determine the strength of sexual selection acting on female ornamentation in dance flies, we developed new microsatellite markers to assess polyandry rates by genotyping stored sperm in wild female dance flies. We first used polyandry rates to determine whether ornament expression was associated with higher mating success in female Rhamphomyia longicauda, a species that has evolved two distinct and exaggerated female ornaments. Contrary to our predictions, we found no evidence that females with larger ornaments enjoy higher mating success. We then compared polyandry rates in R. longicauda to those of two other species of dance fly, one (Empis aestiva) that has i independently evolved female ornaments on its legs, and another (E. tessellata) that does not possess any discernable female ornaments. We also estimated the opportunity for sexual selection, which we found to be similar and relatively low in all three species. Moreover, the standardized sexual selection gradients for ornaments were weak and non-significant in all three species. Females with more elaborate ornaments, in both within- and cross-species comparisons, therefore did not enjoy higher mating success. Overall, these results suggested that sexual selection operates rather differently in females compared to males, potentially explaining the general rarity of female ornaments. Our amplifications of stored sperm were able to reveal more than just mate numbers. We developed new methods to study patterns of sperm storage in wild female dance flies. We investigated how the skew in sperm genotypes from mixed sperm stores changed with varying levels of polyandry. Our data suggested that sperm stores were dominated by a single male in R. longicauda, and that the proportion of sperm contributed by this dominant male was largely independent of the number of rival males’ sperm present in the spermatheca. These results were consistent with the expectation of males using sperm ‘offence strategies’ in sperm competition and that the most successful male is likely to be the female’s last partner before oviposition. As a whole, my thesis contributed new molecular resources for an understudied and fascinating group of organisms. It exploited these new resources to provide the first estimates of lifetime mating success in several related species, and suggested that the general prediction that ornament expression should covary with sexual selection intensity does not seem to hold in this group. Instead, both the unusual prevalence of ii ornaments and the inconsistent evidence for sexual selection that sustains them in dance flies may owe their existence to the confluence of two important factors. First, the conditions under which sperm competition occurs: as last male precedence is likely, males are selected to prefer the most gravid females to secure a high fraction of her offspring’s paternity as they are unlikely to mate again before oviposition. Second, potent sexually antagonistic coevolution between hungry females and discerning males: females have evolved ornaments to disguise their stage of egg maturity to receive the benefits of nuptial gifts, while males face the challenge of distinguishing between gravidity and ornamentation in females.

APA, Harvard, Vancouver, ISO, and other styles

7

Caroline, Windahl. ""Dansa, lek och lär" : En kvalitativ studie om sex pedagogers förhållningsätt till dans som pedagogiskt verktyg i förskolan." Thesis, Södertörns högskola, Lärarutbildningen, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-28925.

Full text

Abstract:

The purpose of this thesis is to examine how educationalists in preschool approach to dance as an educational tool. The educationalists in my study are employed in two different municipalities whereof one of them has invested in dance since 2011 for all educationalists working there. In the other has no general investments at dance for the preschool been made. My purpose of choosing educationalists working in different municipalities is to determine if their approach to dance as an educational tool in preschool differs in relation to the investments in dance. I have chosen three questions to get the answers on my purpose with this thesis. How does personal experience and interests in dance affect educationalists approach to dance activities in preschool? How do my informants narrative about their work with dance in preschool where they work? How does the municipalities’ investment in dance affect the educationalists approach and work with dance? This thesis is based on qualitative interviews with six educationalists. The developments educational theory of how children learn and develop in the framework of preschool is the basis for my understanding and analysis of my gathered empirical data. Some of the conclusions I have found are that the educationalists who are working in the municipality which has investment in dance are working with dance aesthetical and uses dance interdisciplinary.

APA, Harvard, Vancouver, ISO, and other styles

8

Law, Tuulia. "Managing the ‘Party’: Third Parties and the Organization of Labour in Ontario Strip Clubs." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34580.

Full text

Abstract:

Amidst a considerable body of literature on erotic dance, the voices of third parties, that is, the people who organize, supervise, manage or coordinate the labour of dancers, seldom appear. Yet, these third parties provide a setting and services that are vital to dancers’ entrepreneurial success. Furthermore, perceptions of third parties as exploitative and coercive perpetuate framings of erotic dance – and sex work in general – as harmful, which in turn invisibilize dancers’ work, as well as their skills, labour rights and grievances. Drawing from qualitative interviews with 15 third parties and 15 dancers, as well as regional regulatory texts, this dissertation seeks to trouble these stigmatic assumptions by shedding light on the work of third parties and the organization of labour in Ontario’s erotic dance sector. Mapping the occupational roles and relationships amongst third parties (e.g., managers, bouncers, disc jockeys) reveals the organizational structure and peripheries of the strip club. Through this map, we see how third parties together form the organizational structure, which operates as a parallel entity to dancers who, as independent contractors, are for the most part responsible for their own work activities and income. At the same time, because dancers and third parties must equally provide quality service to their shared customers, they are both interdependent on, and independent of, each other. This relationship ‘plays out’ through occupational and situationally adaptive performances, which reiterate and resist normative gender, racial, and class scripts to produce the ‘party’ environment of the strip club. Simultaneously ambiance and organizational culture, the ‘party’ environment shapes third parties’ and dancers’ occupational performances for, and perceptions of, each other. The continuity of performance required to maintain this environment also results in third parties reproducing certain regulatory discourses and mechanisms in their surveillance and rule enforcement practices, and disregarding and subverting others, which in turn impacts upon dancers’ safety. Third parties’ relationships with each other and dancers are also permeated by stigma, stereotypes and perceptions of risk that echo regulatory and broader social discourses. These findings demonstrate that third parties’ engagement with regulation and normative discourses are deeply inter-related and impact the quality of the services they provide to dancers. On this basis it is argued that the context and conditions of dancers’ labour will be improved by rethinking narrow-minded regulatory frameworks and social norms.

APA, Harvard, Vancouver, ISO, and other styles

9

Tumosaitė, Lina. "Sportiniuose šokiuose įgytos patirties ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080618_120344-56586.

Full text

Abstract:

Darbe tyrimo objektu pasirinkti šie šokėjų patirties aspektai susiję su tapatybės formavimusi, iniciatyvumu, bendraisiais gebėjimai, gebėjimai dirbti komandoje, tarpasmeniniai santykiai, bendravimas su suaugusiais, o taip pat trenerio bei kitų sportininkų neigiama įtaka. Tyrimo tikslas – išsiaiškinti sportiniuose šokiuose įgytos patirties ypatumus. Tyrimo uždaviniai: 1. Išsiaiškinti teigiamus sportiniuos šokiuose įgytos patirties ypatumus pagal lytį. 2. Išsiaiškinti teigiamus sportiniuose šokiuose įgytos patirties ypatumus pagal šokėjų sportinę patirtį. 3. Išsiaiškinti teigiamus sportiniuose šokiuose įgytos patirties ypatumus pagal šokėjų amžių 4. Išsiaiškinti neigiamus sportiniuose šokiuose įgytos patirties ypatumus lyties, sportinės patirties ir amžiaus aspektu. Tyrime dalyvavo 63 sportinius šokius kultivuojantys asmenys. Tarp jų buvo 33 merginos ir 30 vaikinų. Vidutinis apklaustų šokėjų amžius – 14,2 metai, o sportinius šokius šoka vidutiniškai 10,66 metus. Apklausai parinkti šokėjai, kurie yra įtraukti į Lietuvos sportinių šokių federacijos skelbiamą reitingų lentelę (B, C ir D meistriškumo klasės). Sportiniuose šokiuose įgyta patirtis buvo tiriama naudojant Jaunimo Patirties Skalę (Youth Experience Scale). Joje buvo pateikti 78 teiginiai. Klausime pateikti teiginiai apėmė šešis faktorius: tapatybės formavimasis, iniciatyvumas, bendrieji gebėjimai, komandinis darbas ir gebėjimas bendrauti, tarpasmeniniai santykiai, o taip pat neigiama patirti. kiekvieną faktorių sudarė... [toliau žr. visą tekstą]
In this paper as an investigative object various aspects of dancers' experience were chosen.They are associated with formation of personality, initiative, general abilities, abilities of working in a team, interpersonal relationships, communication with adults, as well as negative influence of trainers and other dancers. Aim of the research is to find peculiarities of experience in sport dances. Tasks of the research are to: 1. Find out positive peculiarities of experience in sport dances according to sex. 2. Find out positive peculiarities of experience in sport dances according to the dancers' experience in sports. 3. Find out positive peculiarities of experience in sport dances according to dancers' age. 4. Find out negative peculiarities of experience in sport dances according to sex, age and experience in sports. There were 63 participants in the research, who practice sport dance regularly. There were 33 girls and 30 boys. The average age of the dancers is 14,2 , and the everage length of practice of sport dances is 10,66 years. For this research the dancers who are involved into rankings of Lithuanian dance sport federation(B, C and D skills classes) were chosen. The experience of sport dance was investigated using the Youth Experience Scale. There were given 78 propositions in that scale. The propositions in the question comprised six factors: formation of personality, initiative, general abilities, abilities working in a team, interpersonal relationships... [to full text]

APA, Harvard, Vancouver, ISO, and other styles

10

Moss, Merrilee Anne. "Tango Femme : placing the lesbian centre stage." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32157/1/Merrilee_Moss_Thesis.pdf.

Full text

Abstract:

The play Tango Femme places the lesbian centre stage by creating characters, narrative and drama in the world of same-sex dancing. The accompanying exegesis examines the problems and issues associated with creating lesbian characters in theatre, using a synthesized, practice led methodology. During the process of imagining, constructing and writing my case study play, I have investigated lesbian theatre productions and companies in order to make sense of my personal experiences in the theatre world. I have also reflected on the lesbian as represented in mainstream theatre and popular culture. Through journal writing and contemplation, I have sought to identify difficulties inherent in writing this type of play, using my own journey as a focus. My study illuminates the historical and sociological circumstances in the eighties and nineties in Australia and concludes that as a lesbian playwright I was caught between a rock and a hard place: the rock being lesbian theatre on a community level, as defined and attended primarily by separatist lesbians, and the hard place being mainstream theatre, located within the dominant, heteronormative discourse. The play Tango Femme has developed in conversation with my reflective practice and research and is written in the space outside the master narrative as "an instance of lesbian discourse" (Davy 1996, p.153).

APA, Harvard, Vancouver, ISO, and other styles

11

Nilsson, Nadja. "Sex och samlevnad i dansundervisning : En queerteoretisk studie om danslärares arbete med sexualitet, kroppslighet, normativitet och genus i gymnasieskolor." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-64294.

Full text

Abstract:

The aim of this study is to describe how sex eduacation, as an area of expertise, is made visible and constructed in dance teachers education in Swedish higher secondary school. The queer theory describes dance teachers’ work from a perspective of body, sexuality, gender and normativity. Using qualitative methods, leaving space for reflection and subjective experiences, four higher secondary school working dance teachers were interviewed. The findings include that sexual education as an area of expertise exists both consciously and unconsciously in dance education and the subject of dance. Furthermore, the informants do not understand sexuality as something important in teaching dance, in spite of that sexuality as a subject is present in the discussions. The result of the study proved that norms about sexuality, body and gender cooperate with the dance education and the dance teachers daily encounters with their students. The most important conclusion in the study was that dance teachers should have an understanding of how sexual education as an area of expertise can be expressed through dance teaching to be able to encounter students with an including education.

APA, Harvard, Vancouver, ISO, and other styles

12

Howe, Christine. "They say they see me." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6768.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Teixeira, Paula Caruso 1970. "A história das origens da criação do método Bailarino-Pesquisador-Intérprete (BPI) e do seu desenvolvimento no primeiro percurso da sua criadora (1970-1987)." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285215.

Full text

Abstract:

Orientador: Graziela Estela Fonseca Rodrigues
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T12:05:53Z (GMT). No. of bitstreams: 1 Teixeira_PaulaCaruso_D.pdf: 21269239 bytes, checksum: 9c82e0b5eb0ec0175fed3b28d2357a5a (MD5) Previous issue date: 2014
Resumo: Este trabalho tem por finalidade principal desvendar como foram as origens da criação em 1980, do método de pesquisa e criação em dança Bailarino-Pesquisador-Intérprete (BPI) e do seu desenvolvimento no primeiro percurso da sua criadora (1980-1987), Graziela Rodrigues. Descobrir o que da sua formação em diversos métodos, sistemas e técnicas de dança e de teatro e em linguagens afins influenciou no BPI, bem como o que do contexto histórico da dança no Brasil dos anos 70 e 80. Para responder à essas indagações, a autora fez pesquisas bibliográficas e documentais, mas, sobretudo, pesquisas de campo, através da realização de dezoito entrevistas semiestruturadas inclusive com a própria criadora do BPI e o restante, na sua maioria, com artistas que trabalharam e conviveram com ela no período histórico de 1970-1987. Após a análise dessas entrevistas e o levantamento das suas categorias, dialogou os dados relevantes coletados de campo com os dados bibliográficos e documentais. Assim, a discussão desta tese revela novos dados sobre a história da dança no Brasil no período histórico estudado e sobre a história deste método, das suas origens, do seu nascimento até 1987. Depois dessas reflexões, a autora chegou a algumas conclusões, sendo que a principal é que por mais que o BPI ressoe o espírito dos anos 70 e 80 na história da dança no Brasil, ele apresenta uma originalidade em relação aos métodos, sistemas e técnicas que contribuíram para a formação da sua criadora
Abstract: The main purpose of this work is to disclose how the origins of the creation of the method of research and creation in (DRI) Dancer-Researcher-Interpreter in 1980 were and of its development in the first course of its creator (1970-1987), Graziela Rodrigues. Also discover what, from her education in several dance and theater methods, systems and techniques and in related languages, influenced the DRI, as well as what from the historical context of dance in the Brazil of the 1970¿s and 1980¿s. In order to answer these questions, the author made bibliographic and documentary research, but above all, fieldwork by having eighteen semi-structured interviews, including with the creator of DRI and the rest, mostly with artists who worked and lived with her in the historical period from 1970 to 1987. After analyzing these interviews and the gathering of its categories, she dialogued the relevant data collected from the field with the bibliographical and documental data. Therefore the discussion of this thesis reveals new data on the history of dance in Brazil in the historical period studied and on the history of this method, its origins and its birth until 1987. After these reflections, the author came to some conclusions and the main one is that to whatever degree the DRI resounds the spirit of the 70s and 80s in the history of dance in Brazil, it shows an originality in relation to the methods, systems and techniques which contributed to the education of its creator
Doutorado
Artes da Cena
Doutora em Artes da Cena

APA, Harvard, Vancouver, ISO, and other styles

14

Lamamie, de Clairac Garrido Paula. "There was a sea." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1982.

Full text

Abstract:

There was a sea is the resultant piece of a creative research conducted about human relationships with the element water. The dance takes us on a trip through different states of the spectrum scarcity-abundance of water around the world.

APA, Harvard, Vancouver, ISO, and other styles

15

Chappell, Kerry. "Creativity within late primary age dance education : unlocking expert specialist dance teachers' conceptions and approaches." Thesis, City University London, 2005. http://openaccess.city.ac.uk/11882/.

Full text

Abstract:

This study is a qualitative interpretive investigation of three expert specialist dance teachers' conceptions of and approaches to creativity with late primary age children in England carried out using a multi-case case study approach. These specialists were working in a variety of educational settings and had extensive experience as dance educators with some degree of experience, past or present, of creating and/or performing as dance artists. The study was carried out in order to increase understanding of expert specialist dance teachers' conceptions of and approaches to creativity, and how these relate to theories of creativity and teacher knowledge from within dance education and wider relevant education literature, particularly in light of the creativity agenda in England stemming from the NACCCE Report (1999). The purpose of this study was firstly exploratory and illustrative with the exploration of Foundations for Creativity; Creativity as Individual, Collaborative and Communal; and Creating the Dance underpinning the explanation of Teaching for Creativity: Spectra of Approaches and Shaping Influences. These findings were compared with existing literature and contribute to the field In a number of ways. Firstly, they provide: an 'image of the possible' from these experts of an embodied socially constructed way of knowing and accompanying pedagogy as foundational to creativity in primary age dance education, which is also potentially pertinent to wider primary education; an argument for moving beyond individualised conceptions of creativity to embrace deeper understanding of the dynamics of creativity as collaborative and communal within dance and wider education; and a teacher-derived image of the creative process which reinforces arguments against 'over-assuming'the commonalities of creativity across domains. Secondly, the findings offer a possible pedagogical toolkit for teaching for creativity in primary age dance education including three pedagogical spectra, images of their possible use in action, and details of the dilemmas faced and overcome using professional practical knowledge, which may also be applicable in wider educational settings. And, thirdly, the findings contribute to understanding how the dance teachers' practical knowledge in relation to creativity developed through reframing, leading to an argument for wellsupported reflective practice within specialist dance teacher training and CPD as a key way of contributing to the professionalisation of their work.

APA, Harvard, Vancouver, ISO, and other styles

16

Fylla, Iliana. "Mises en présence des corps : la scène chorégraphique française (2000-2013) et ses antécédents historiques." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100195.

Full text

Abstract:

Au début des années 2000 un phénomène de transgression des représentations corporelles conventionnelles envahit les scènes chorégraphiques. Autonomie, indiscipline, réflexivité, expérimentation, tendance protéiforme, performativité, intégration sociale et attitude participative, ne sont que quelques dimensions que le corps dansant favorise. D’où provient-il ce phénomène ?Cette thèse, en mettant la question en perspective historique, examine comment les revendications chorégraphiques à orientation politico-artistique du milieu des années 1990, qui visaient à défier les limites propres de la danse, les limites entre les autres arts, mais aussi entre l’artiste, l’œuvre et le spectateur, la danse et les schémas institutionnels du pays, ont trouvé toute leur légitimité et porté leurs fruits dans les années 2000.Dans la lignée de l’analyse critique qui a récemment élargi son champ d’intérêt, interrogeant les frontières traditionnelles de la danse, cette thèse propose d’explorer les transformations du corps, de la pensée, de l’image et du regard, opérées dans le champ chorégraphique, en examinant : la (ré)formation du corps dansant, le processus d’historicisation du domaine, la mutation du visuel due aux démarches transdisciplinaires et transversales, ainsi que le projet de démocratisation de la discipline qui engendre des (ré)formations du corps-public. Trois questions principales traversent l’étude : Quel corps ? Quelle danse ? Qui danse ? A la fois panoramique et monographique, cette thèse développe une méthodologie qui se prête à offrir une sensibilisation à l’analyse pluridimensionnelle du domaine ainsi que des outils adéquats pour une historiographie des œuvres
In the early 2000s, a phenomenon of transgression in the conventional representations of bodies invades the choreographic scenes. Autonomy, indiscipline, reflexivity, experimentation, protean tendency, performativity, social integration and participative attitude are some of the dimensions favored by the dancing body. Where does this phenomenon come from? Within a historical perspective, this PhD thesis examines how these choreographic claims with a politico-artistic orientation of the middle 1990s, aiming to challenge the proper limits of the dance, the boundaries among the other arts, the frontiers between the artist, his work and the audience, as well as the dance and the French institutional frame, found their legitimacy and started showing results in the years 2000. In line with the critical analysis which recently expanded its field of interest by questioning the traditional borders of the dance, this PhD thesis proposes to explore the transformations of the body, the thinking, the image and the view by examining: the (re)formation of the dancing body, the process of historicisation of the domain, the mutation of visuals stemming from transdisciplinary and transversal approaches, as well as the discipline’s democratisation which generates the (re)formation of the audience. This study deals with three main questions: Which body? Which dance? Who is dancing?Panoramic as well as monographic, this research develops a methodology which intends to raise awareness in favour of the multidimensional analysis of dance, as well as for the most adequate tools for the historiography of related works

APA, Harvard, Vancouver, ISO, and other styles

17

Chao, Yu-ling. "Dance, culture and nationalism : the socio-cultural significance of Cloud Gate Dance Theatre in Taiwanese society." Thesis, City University London, 2000. http://openaccess.city.ac.uk/11875/.

Full text

Abstract:

The socio-cultural significance of Cloud Gate Dance Theatre (est. 1973) in Taiwan is manifested in the interconnection of political nationalism and the representation of a diasporic postcolonialist cultural nationalism in its dance creations. The hybrid nature of Taiwanese society and its struggle between Chinese and Taiwanese nationalism are reflected in the motive behind the creation of the company, the evolution of its repertoire and changes in its nationalist stance. The creation of Cloud Gate, the first Taiwanese contemporary dance company, was stimulated by its founder Lin Hwaimin's enthusiasm for Taiwan Chinese nationalism. The name Cloud Gate Dance Theatre not only relates to Chinese dance history and the formation of Chinese mythological nationalism, but also indicates the hybrid nature of Taiwanese society. In brief, Cloud Gate's multi-cultural dance creation is generated by diasporic Chinese for diasporic Chinese. In the light of intensifying Taiwanese nationalism on the island the evolution of the Cloud Gate repertoire (between 1973-1997), which began by juxtaposing Chinese and Western dance elements before integrating Chinese, Western, Taiwanese, Taiwanese indigenous and various Asian dance elements, reflects the company and Taiwanese society's search for a Taiwanese cultural and political identity. Among the Cloud Gate repertoire, Legacy (1978) and Nine Songs (1993) are considered to exemplify most this distinct socio-cultural phenomenon-the interaction and interconnection between dance, culture and nationalism in the context of the formation of Taiwan as a postcolonial society in opposition to Chinese nationalist hegemony. A research methodology for the socio-cultural analysis of dance is developed, with specific relevance to the Cloud Gate repertoire, which incorporates methods originating in sociology of dance and choreological studies. This is supported by a documentary research method which draws on theories and analytical methods of sociology and dance history. Zelinger's (1979) theory of semiotics of theatre dance is applied to bring together sociological and choreological methods. The examination of Thomas' (1986) sociological analysis of dance, Adshead's (1988) and Sanchez-Colberg's (1992) dance structural analysis leads to the development of a new method of analysis. Geertz's (1973) concept of `Thick description' provides the theoretical ground for the interpretation of data collected through the analysis of extrinsic and intrinsic features of cultural phenomena. Consequently the significance of the dance in question can be addressed in terms of the complex network of interpretations of it within its socio-cultural context.

APA, Harvard, Vancouver, ISO, and other styles

18

Serret, Mathilde. "Élaboration d'un dispositif de danse-thérapie à expression primitive et évaluation de ses effets auprès de patients atteints de la maladie de Parkinson." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2011.

Full text

Abstract:

De récentes études ont démontré que la danse était une approche efficace pour améliorer les symptômes moteurs et non-moteurs ainsi que la qualité de vie chez les patients atteints de la maladie de Parkinson (MP). Nous supposons que la Danse-Thérapie à Expression Primitive (DTEP) est une méthode plus adaptée que les approches à médiations corporelles actuellement proposées et qu’elle pourrait véhiculer des bénéfices plus importants. L'hypothèse principale est que la DTEP aura des effets bénéfiques sur la marche et sur l’équilibre, ainsi que sur le plan psychique, qu’elle améliorera la qualité de vie et le lien social, et qu’elle pourrait constituer une composante importante d'une approche multidisciplinaire de la gestion à long terme de la MP.La première étude, en partenariat avec l’hôpital Bellan et d'une durée de deux ans, a permis d’élaborer, d’observer et d’adapter un dispositif de DTEP afin de développer un dispositif type et de pouvoir proposer une prise en charge novatrice. La seconde étude, en partenariat avec l’hôpital Pitié-Salpêtrière et d’une durée de sept mois, a permis de tester la faisabilité d'une telle étude, d'expérimenter le critère principal que constitue la marche et de mesurer les effets de la DTEP avec les outils d'évaluation qui, après avoir passé en revue les études sur le sujet, nous sont apparus comme les plus pertinents et reconnus dans le milieu médical et auprès de cette population.Le développement d’une approche originale entre Sciences Humaines et Sociales et médecine pourra servir à nourrir les pratiques et la prise en charge des patients en apportant des éléments utiles à la formation des professionnels et à l’organisation des soins. La réflexion qui a fondé la méthodologie des études développées contribuera quant à elle à alimenter la recherche et à mettre en place de nouvelles études
Recent studies have shown that dance may be an appropriate and effective strategy for improving motor and non-motor symptoms, as well as quality of life on individuals with Parkinson’s Disease (PD). Dance-Therapy through primitive expression (DTPE), as a mind-body therapy, may convey superior benefits, not only on physical areas but also on psychological and social ones. The main hypothesis is that Dance-Therapy will lead to greater gait and balance ability, an improved quality of life, will have psychological and social benefits and is an important component of a multidisciplinary approach to long-term management of PD.The first study, which lasted for two years, consisted of elaborating, observing and modifying the DTPE proposals in order to adapt them to the requirements of Parkinson's disease and to develop protocols of sessions in order to propose an innovative management of the disease.The second study, developed after a thorough literature review and which lasted seven months, made it possible to test the feasibility of such a study, to test a first main outcome (gait) and to evaluate the effects of the DTPE with the scales, which, after reviewing the studies on the subject, appeared to us to be the most relevant and well recognized in the medical community.The development of an original approach between Human and Social Sciences and Medicine can be used to feed the practices and care of patients by providing useful elements for the training of professionals and the organization of care. The thinking that has grounded the methodology of the studies developed in this thesis will contribute to fueling research and setting up new studies

APA, Harvard, Vancouver, ISO, and other styles

19

Pakes, Anna. "Dance interpretation and the cultural institution : exploring the condition(s) of British and French contemporary dance in the 1990s." Thesis, City University London, 2001. http://openaccess.city.ac.uk/11878/.

Full text

Abstract:

This study examines what is intended and understood as the meaning of contemporary dance in its sociocultural context, in which the role of the state is a significant factor. It investigates the extent to which the structures and practices of public arts funding influence the production and reception of contemporary dance, focusing on British and French dance in the 1990s. By focusing on specific works in critically reflexive terms, it seeks to offer a basis for future ethnographic study of dance practices and dance audiences. The thesis employs a critical hermeneutic method, offering a philosophical reflection on dance as well as exploring the mutual implication of artistic practice, aesthetic response and their socio-political and economic contexts. The philosophical grounding of the investigation is explored in detail, in order to support a reflexive engagement of methodological issues of broader relevance to the discipline of dance studies. The relation between verbal language and dance is critically examined: drawing from Saussure and Wittgenstein, the argument is made for the contextual determination of meaning in both these "forms of life". A discussion of aesthetic and anthropological theories which recognise the mutual implication of artwork and context is followed by a reflection on the methods of dance analysis that most effectively explore the extent and character of that implication. Phenomenological and hermeneutic approaches are discussed, including methods derived and adapted from the study of literature which focus analytic attention on the reception rather than production of texts. An emphasis on spectatorship and dance interpretation seeks to redress what is argued as an imbalance in dance studies, namely the privileging of the perspectives of choreographing and performing subjects in dance analysis. The empirical investigation explores the structure and development, since 1945, of what is termed the "cultural institution", namely the set of conventions and practices which both enable and constrain the production and reception of contemporary dance art. It is argued that the state, through intervention via policy formulation and subsidy distribution, has played a key role in setting parameters within the "danceworld", a subsidiary of the broader cultural institution and the environment which contexts contemporary dance performance. An overview of the politico-economic conditions of dance in the 1990s is presented, and four case studies then extend this discussion by exploring how those conditions are actualised on individual sites of dance productionand reception. Four works are examined in detail (Kim Brandstrup's Crime Fictions, Russell Maliphant's Unspoken, Daniel Larrieu's Mobile and Herve Robbe's ld. ), in terms of their institutional context and the viewing experiences to which they give rise, arguing for a connection between the types of aesthetic response articulated and the institutional conditions in which the works are performed and received. The thesis argues against a determinist relation between the politico-economic context and the aesthetics of dance, proposing instead that these two dimensions of contemporary dance practice need to be examined conjointly. It seeks to demonstrate that this is crucial, if the current condition of contemporary dance in Britain and France is to be both understood and critically appraised.

APA, Harvard, Vancouver, ISO, and other styles

20

Storm, Frida. "RISK, RESPECT & UNSPEAKABLE ACTS : Untangling Intimate-Sexual Consent through 'Intuitive Inquiry' & 'Agential Realism'." Thesis, Karlstads universitet, Centrum för genusforskning (from 2013), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-83220.

Full text

Abstract:

In an attempt to address the issues in research and theory on consent, this thesis explores what consent can be seen as "doing" through an 'Intuitive Inquiry' (Anderson 2011a) and 'Agential Realism' (Barad 2007). Various manifestations of consent appears through: the experience of the researcher, consent research and theory, consent legislation, interviews with professionals in intimate-sexual consent, and, feminist fanzines. Consent evokes issues around agency, power, communication, respect, violence, risk, morals and ethics that go beyond sexual-intimate negotiation. Consent emerges as multiple, complex and fluid in 'intra-action' (ibid.) with the context. Entanglements and paradoxes of consent are further explored in 'diffractive analysis' (ibid.) through "bodily autonomy" and"rights/obligations". As a phenomenon, consent appears to make agency and power intelligible (to different degrees), but, can not be said to provide a viable strategy against sexual violence. The tenets of consent discourse risk (re)producing anxieties around intimacy and sex, responsibilizing survivors and obfuscating sexual violence. Further and improved research on communication in everyday sexual negotiation, sexual violence, consent legislation and what consent "does" is urgently needed.Through creative method and new epistemology the thesis (re)presents a knowledge process true to lived experience, as well as, an invitation to pull the terrible wonderful world, it's complexities, and us in it, closer.
I ett försök att ta itu med problem inom forskning och teori om 'consent' undersöker denna avhandling vad samtycke kan ses som ”göra” genom 'Intuitiv Inquiry' (Anderson 2011a) och'Agential Realism' (Barad 2007). Olika manifestationer av 'consent' framträder genom: forskarens erfarenheter, samtyckes-forskning och teori, samtyckelagstiftning, intervjuer med professionella inom samtycke, och, feministiska fanzines. Samtycke väcker frågor kring agens, makt, kommunikation, respekt, våld, risk, moral och etik som går bortom sexuella-intima förhandlingar. Samtycke framträder som multipelt, komplext och rörligt i 'intra-action' (ibid.) med kontexten. 'Entanglements' och paradoxer inom samtycke undersöks vidare i 'diffraktiv analys' (ibid.) genom "kroppslig autonomi" och"rättigheter/skyldigheter". Som ett fenomen gör samtycke agens och makt möjlig att tänka (iolika grad), men kan inte sägas bidra med en hållbar strategi mot sexuellt våld. Grundsatserna i samtyckesdiskursen riskerar att (re)producera ängsla kring intima-sexuella situationer, responsibilisera offer och dölja sexuellt våld. Ytterligare och förbättrad forskning är i akut behov kring kommunikation i vardagliga sexuella förhandlingar, sexuellt våld, samtyckeslagstiftning och vad samtycke "gör". Genom kreativ metod och ny epistemologi (re)presenterar avhandlingen en kunskapsprocesssom är trogen till levd verklighet, samt en inbjudan att närma sig, den fruktansvärda underbara världen, dess komplexitet, och oss inom den.

APA, Harvard, Vancouver, ISO, and other styles

21

Constantakopoulou, Christy. "The dance of the islands : perceptions of insularity in classical Greece." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248874.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Andrade, Joachim. "Shiva abandona seu trono: destradicionalização da dança Hindu e sua difusão no Brasil." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/2018.

Full text

Abstract:

Made available in DSpace on 2016-04-25T19:20:45Z (GMT). No. of bitstreams: 1 Joachim Andrade.pdf: 4023198 bytes, checksum: dc0d71e18966f32fcf73e535661bb773 (MD5) Previous issue date: 2007-04-13
Hindu Dance one of the most popular artistic forms of India, has received universal acclamation including in Brazil as one of the subtlest expressions of Hinduism. Its intimate connection with the temple, as a ritualistic art, mirroring the imperceptible feelings of devadasis the dancing girls , reflects he inwardness of Hindu culture. This dance is performed according to the most delicate nuances of a musical piece, or a poem, through the vehicle of a body, reflecting the principles laid down by the Natya Shastra treatise. Through some of the pioneer performing artists and a few dedicated visionaries at the beginning of the XX century, the Hindu dance gained unprecedented popularity and initiated its process of detraditionalization. Accompanying the historical processes of modernization and secularization of India the Hindu dance initially did its passage from temple to theater; e then to the other religions in India and consequently to the west and finally to Brazil. In this research the process of detraditionalization as been organized in three parts. In the first part, some questions have been raised with regard to the changes that the dance would face during the process of detraditinalization and also has shown panoramic view of the dance in Brazil. The second part establishes approximation of the Hindu dance with the empirical analyses of the detraditionalization process from the temple until its arrival to the west. In the third part, we treat the modifications suffered by the art as well as the changes occurred in the lives of the dancers. The conclusion deals with the possible contribution this process has given to the society as general and the Sciences of Religion in particular
A dança hindu, uma das formas artísticas mais populares na Índia, tem recebido reconhecimento universal (inclusive no Brasil) como expressão das mais sutis do Hinduísmo. Sua conexão íntima com o templo, como arte ritualística que espelha sentimentos imperceptíveis das devadasis, dançarinas do Senhor , reflete a tendência introspectiva da cultura hindu. Essa dança era realizada conforme os matizes mais delicados de uma peça, ou de um poema, por intermédio do corpo, refletindo os princípios explicitados no tratado mais antigo da dança, o Natya Shastra . Por meio de dançarinos pioneiros e de visionários dedicados no início do século XX, essa dança alcançou uma popularidade sem precedentes e iniciou o processo de destradicionalização. Acompanhando o processo histórico de modernização e secularização da Índia, a dança hindu inicialmente passou do templo ao teatro; depois para as outras religiões na Índia, para o Ocidente e, por fim, para o Brasil. Nesta pesquisa, organizamos o processo da destradicionalização em três blocos. No primeiro, questionamos as possíveis mudanças que a dança deve enfrentar no processo da destradicionalização; também mapeamos a dança no Brasil. O segundo estabelece uma aproximação entre a dança hindu e a análise empírica da destradicionalização, do templo ao Ocidente. No terceiro bloco examinamos as modificações na arte e também as mudanças na vida dos bailarinos. Conclui-se visando a possível contribuição que esse processo faz à sociedade, em particular aos estudos de Ciência da Religião

APA, Harvard, Vancouver, ISO, and other styles

23

Samuelson, Anna. "He dances, she shakes: the possessed mood of nonduality in Buddhist tantric sex." Thesis, McGill University, 2012. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=107880.

Full text

Abstract:

My thesis explores the aesthetic theory and performative expectations of the male and female practitioners in tantric Buddhist sexual rites. My work examines the erotic context of later tantric Buddhist practice as found in Vanaratna's (1384 -1468) fifteenth century Tibetan meditation manual (sadhana) to the rare, erotic form of the goddess Vajravarahi (Adamantine Sow), called Vajravilasini (Adamantine Beauty), entitled Vajravilasini namah Vajravarahi sadhana (The sadhana of Vajravarahi named Vajravilasini). An eighth century poem is preserved in the consort practice section of this sadhana, attributed to the Indian mahasiddha (great accomplished one) Lakrminkara. My study examines this poem in terms of Indian aesthetic theory, rasa theory (lit. taste theory). I argue that antinomian siddha poets, such as Lakrminkara, both employed and transcended the poetic method of rasa theory, initially creating an erotic mood (spngara rasa) in their poems, but ultimately transcending this rasa, to create a specific nondual Buddhist mood, samarasa (lit. one taste), a state of nondualism which is the goal of tantric Buddhism. Beyond the textual analysis of Lakrminkara's poetry, my study examines the ethnographic findings of Syed Jamil Ahmed (2003) and David N. Gellner (1992) on Newar Buddhist tantric ritual in Nepal. In performative sexual contexts of Vajravarahi practice men are expected to dance to show that they have become the male deity, Vajravarahi's consort Cakrasamvara, whereas the women in the ritual, their wives, are required to shake with possession to show that they are Vajravarahi. Samarasa is expressed by the ritual participants through symbolically sexual performances of dance and shaking. Not only must the flavour of samarasa be maintained for correct performance, the presence of the deity must be held through a self-induced state of possession (samavesa), whereby the selves of the human and deity merge. The gendered divergence in performance shows that there are differing levels of agency expected in sexualized ritual settings by men and women. I argue that nonduality is expressed through dual, exaggerated gendered behavior of the dominant male and the passive female, which come together to express nonduality through ritualize union.
Ma thèse explore l'esthétique ainsi que les attentes performatives de ceux et celles qui pratiquent le tantra, un rite sexuel Bouddhiste. Ma recherche examine le cote erotique de ce rite récupérer dans le Vanaratna's (1384 -1468) un manuel de méditation Tibétain, examinant la déesse Vajravarahi (Truie Adamantin), aussi connu sous le nom de Vajravilasini (Beauté Adamantin). Ce manuel est aussi connu en tant que le Vajravilasini namah Vajravarahi sadhana (Le sadhana de Vajravarahi connu en tant que Vajravilasini). Un poème datant du huitième siècle est préserver dans ce manuel dans la section de ce sadhana, qui est attribué a l'Indien mahasiddha (celui qui a accompli bien des choses) Lakrminkara. Ma recherche examine ce poème en relation avec la théorie esthétique Indienne, la théorie rasa. Mon argument consiste a expliquer que les poètes qui s'opposaient aux règles du temps, comme Lakrminkara, faisaient usures de (tout en étant au delà de) la théorie rasa. Ceci créa un ambiance érotique (spngara rasa) dans leurs poèmes. En transcendant ce rasa, les poètes créaient une ambiance Bouddhiste, non duel samarasa, c'est-a-dire un état non duel qui est le but ultime du tantra. De plus, ma recherche examine les données ethnographiques de Syed Jamil Ahmed (2003) et de David N. Gellner (1992) concernant les rituels tantriques Newar au Népal. Dans le contexte de la performance du Vajravarahi, les homes sont attendues à danser pour démontrer leur transformation en Cakrasamvara, le consort de Vajravarahi. Les femmes, pour leurs parts, elles doivent trembler violemment pour démontrer leur possession spirituel pour représenter qu'ils sont Vajravarahi. Samarasa est exprimer dans les participants du rituel sexuel symbolique de la dance et du tremblement corporel. Pour que le rituel soit un succès, la présence du déité doit être maintenu à travers la possession corporel (samavesa) lors de l'osmose de l'être humain avec le déité. La divergence sexuelle lors des performances exprime l'existence de différentes niveau d'autorité entre home et femme. Je conclue que la non dualité est exprimé sous forme de performance masculine et féminine exagéré entre l'homme qui domine et la femme qui est passive, qui des lors leur convergence, forment la non dualité sous forme d'union ritualise.

APA, Harvard, Vancouver, ISO, and other styles

24

Ferreira, Carolina Fernandes. "Re-descobrindo ser-si-mesmo: a existencialidade de mulheres praticantes de pole dance." Universidade Federal do Amazonas, 2015. http://tede.ufam.edu.br/handle/tede/4892.

Full text

Abstract:

Submitted by Luan Nogueira (luan_zx_@hotmail.com) on 2016-02-22T15:18:23Z No. of bitstreams: 1 Dissertação - Carolina Fernandes Ferreira.pdf: 1875851 bytes, checksum: 1f1d71cc02c1ed8cd0ac34da6a57c56e (MD5)
Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-02-22T19:35:20Z (GMT) No. of bitstreams: 1 Dissertação - Carolina Fernandes Ferreira.pdf: 1875851 bytes, checksum: 1f1d71cc02c1ed8cd0ac34da6a57c56e (MD5)
Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2016-02-22T19:43:33Z (GMT) No. of bitstreams: 1 Dissertação - Carolina Fernandes Ferreira.pdf: 1875851 bytes, checksum: 1f1d71cc02c1ed8cd0ac34da6a57c56e (MD5)
Made available in DSpace on 2016-02-22T19:43:33Z (GMT). No. of bitstreams: 1 Dissertação - Carolina Fernandes Ferreira.pdf: 1875851 bytes, checksum: 1f1d71cc02c1ed8cd0ac34da6a57c56e (MD5) Previous issue date: 2015-11-24
CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Physical activity is a trainer for everyday life, promoting sound judgment and situational awareness, enabling reaction in face of environmental changes, and having social relations as a performance mediators. The Pole Dance is a sport that is gaining ground in the media. Therefore, the present study, titled "Re-discovering being-one-self: the existentialism of women pole dance practitioners", is aimed at understanding how pole dance women practitioners mean their existence from the practice of sports. It is a qualitative research, which was developed according to the precepts of the phenomenological method and analysis from the assumptions of the Phenomenology of Merleau-Ponty. Twelve women pole dance practitioners from a studio in the city of Manaus were considered as participants and the data collection was carried out from a guiding question. Through those speeches the following categories of analysis were created: Starting "to pole", Obstacles versus Overcoming , Pre-Concepts, Re-discovering be one-self and "What does pole dance mean for you?". In such analysis, the most diverse experiences were seized on a common practice, in which of them the being-in- the-world of each of these women was verified and how they see themselves and perceive their bodies in interaction with themselves and with the world. It was understood that behind a simple movement, there are countless beings- in- the-world and that the most certain existing fact is individuality
A atividade física é um preparador para a vida cotidiana, promovendo a capacidade de julgamento e percepção da situação, possibilitando reação frente a alterações do ambiente, tendo as relações sociais como mediadores de desempenho. A Pole Dance é uma modalidade esportiva que está ganhando espaço na mídia. Por conseguinte, a presente pesquisa, intitulada “Re-descobrindo ser-si-mesmo: a existencialidade das mulheres praticantes de pole dance”, teve como objetivo compreender como mulheres praticantes de pole dance significam a sua existência a partir da prática da atividade esportiva. É uma pesquisa de natureza qualitativa, que se desenvolveu de acordo com os preceitos do método fenomenológico e a análise a partir dos pressupostos da Fenomenologia de Merleau-Ponty. Foram consideradas como participantes doze mulheres praticantes de pole dance de um estúdio na cidade de Manaus e a obtenção dos dados foi realizada a partir de uma questão norteadora. Através dos discursos foram criadas as categorias de análise: Começando a “polear”, Obstáculos versus Superação, Pré-Conceitos, Re-descobrindo ser-si-mesmo e “O que significa pole dance para você?”. Nelas foram apreendidas as mais diversas experiências sobre uma mesma prática, em que se verificou o ser-no-mundo de cada uma dessas mulheres e como elas se veem e percebem o seu corpo na interação com-si-mesmas e com-o-mundo. Compreendeu-se que por trás de um simples movimento, há inúmeros seres-no-mundo e que a individualidade é o fato mais certo que existe

APA, Harvard, Vancouver, ISO, and other styles

25

Dávila, Ramírez Tania Violeta Broyer Gérard. "La souffrance du corps vécu dans la danse professionnelle." Lyon : Université Lumière Lyon 2, 2006. http://demeter.univ-lyon2.fr/sdx/theses/lyon2/2006/davilaramirez_tv.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

Weir, Lucy Gabrielle Ann. "The cross-cultural rituals of twentieth-century dance : Mary Wigman, Martha Graham, Pina Bausch." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4033/.

Full text

Abstract:

This thesis provides a re-reading of the development of twentieth-century dance, focusing on the choreographic work and creative processes of Mary Wigman, Martha Graham, and Pina Bausch. Using these individuals as markers of three distinct temporal stages of contemporary dance, I argue that avant-garde dance practice throughout the twentieth-century was irrevocably associated with, and influenced by, the aesthetics and ritual practices of non-Western cultures. Instead of charting a chronological structure, I have used a thematic framework based on the concept of ritual performance, beginning with fertility rites (as espoused by different choreographies of Stravinsky’s Rite of Spring), before moving on to explore masking devices, conceptions of national and cultural identity, and mourning and commemoration. Through a series of individual case study analyses, this thesis maps the impact of inter-cultural exchange on the development of non-classical dance. I posit that, as modern dance emerged and evolved throughout the twentieth-century, practitioners consistently drew strong influence from cross-cultural aesthetics; I focus specifically on links between Western (represented by Germany and the United States) and non-Western (including Japanese and Native American) performance. Using evidence drawn from primary source material, including original film footage, photography and personal effects, I construct separate analyses of commonalities in the work of Wigman, Graham, and Bausch, arguing that the ritualistic themes of their work can be viewed as a pattern for the development of contemporary dance more broadly. My research identifies previously unexplored sources of influence upon these artists. This thesis presents a re-evaluation of established discourse by focusing on a foreign influence that has not been identified in current research as a common thread linking these three artists; while connections have been established between German and American early modern dance, the reciprocal influence of Western practice on Far Eastern performance is comparatively uncharted territory. In the second half of this thesis, I outline the response to this cross-cultural dialogue, focusing on the postmodern artistic practice of groups in Japan, Austria and Germany. Accordingly, this thesis deconstructs the notion of cultural isolation, arguing instead that, as a logical outcome of this inter-cultural exchange, dance in the postmodern era is informed by a legacy of universalised, ritualistic practice.

APA, Harvard, Vancouver, ISO, and other styles

27

Kruger, Esthea. "An analysis of Priaulx Rainier’s Barbaric Dance Suite for piano." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/1883.

Full text

Abstract:

Thesis (MMus (Music))--University of Stellenbosch, 2009.
Priaulx Rainier (1903-1986) was a South-African born composer whose highly original compositional style attracted great attention during her lifetime. She spent most of her life in England, but was inspired by the images and recollections of her youth in Africa. Despite the critical acclaim she received, little research has been done about her, both in South Africa and abroad. Additionally, the nature of existing sources is mostly not analytical, but rather provides an overview of her life or general aspects of her style. Although some conclusions have been drawn about her compositional style, they are not thoroughly substantiated by concrete analytical evidence. Also, the focus is mostly on her prominent rhythmic use (often linked by authors to the “African” element of her idiom), with an evident disregard of the other aspects of style, most notably with regard to pitch coherence. This research attempts to correct this unbalanced discourse by analysing one of her few solo piano works, the Barbaric Dance Suite (composed in 1949), and pointing out significant pitch relations, similarities and contrasts. The rationale for selecting this specific work originated from Rainier’s own pronouncement that “The Suite is a key to all my later music, for in the three DANCES, their structural embryo is, on a small scale, the basis for most of the later works.” Although the scope of the research did not allow for a comparative analysis, it is strongly believed that the conclusions reached in this study could also be applicable to many of Rainier’s other works, especially of the early period. The study consists of an introduction in which the Barbaric Dance Suite is contextualised, followed by the main body of the thesis that consists of a detailed analysis of each of the three movements. The foremost method of analysis used is set theory analysis, which could be briefly described as a method whereby (particularly atonal) music is segmented and categorised in pitch class sets. As set theory focuses exclusively on the dimension of pitch, traditional methods of analysis are employed to examine the other musical parameters. In the conclusion, the analytical results are contextualised with regard to existing pronouncements on Rainier’s oeuvre. The study also comments on the applicability of set theory as analytical system in Rainier’s music. The many complex pitch relations that were discovered by the intensive analysis of pitch content has given enough evidence to conclude that Rainier’s use of sonorities has been unjustly neglected in the discourse of this work and perhaps also in her musical style as a whole. It is hoped that further detailed analysis of her use of sonorities in other works could lead authorities to revise the insistent pronouncements on her rhythmic use in favour of a more balanced assessment of all aspects of her compositional style.

APA, Harvard, Vancouver, ISO, and other styles

28

Cunha, Maria Luisa Oliveira da. "Pelas fronteiras sem fim da dança : memórias da Escola de Dança João Luiz Rolla (1951-1986)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/140963.

Full text

Abstract:

Esta tese doutoral trata, por uma abordagem histórico-cultural, da Escola de Dança João Luiz Rolla (1951-1986) da cidade de Porto Alegre. Tem por objetivo descrever sua constituição e trajetória no cenário cultural da dança a partir do acervo pessoal de João Luiz Rolla (fontes documentais) e da oralidade dos sujeitos envolvidos (fontes orais). Por um período de 35 anos, a Escola de Dança João Luiz Rolla despontou como uma das maiores escolas de dança da cidade, sendo a primeira fundada por um bailarino. João Luiz Rolla realizou sua formação em dança na Escola de Bailados Clássicos Tony Seitz Petzhold e, após 10 anos de estudos, iniciou a trajetória de sua própria escola. A análise dos dados históricos revelou que a Escola, já nos primeiros anos de atuação, despontou no cenário cultural da dança da cidade, utilizando como estratégica pedagógica o ensino do ballet clássico configurado em uma metodologia própria, primando por rígida disciplina circundada pela afetividade, e a inserção de diferentes técnicas de dança. Assim, organizada por etapas, com exames, avaliações e formatura, concedia às suas alunas certificação do curso de Ballet Acadêmico e Danças com registro da Secretaria de Educação do Estado do RS. Como veículo de expressão cultural da dança, o ponto central de sua história foi sua rápida ascensão nesse cenário e manutenção desse status, pautada pela criatividade e inovação apresentada em 55 espetáculos, no decorrer de 35 anos de atividade. Coreografias como “Burlesco”, “Grand Canyon Suite”, “Assassinato na Décima Avenida”, “Estudos Sinfônicos de Schumann”, “Crime no Night Club”, “Masquerade”, “A Orquestra”, “2001 Uma experiência pelas fronteiras sem fim da dança” são obras de destaque nessa trajetória e repercutiram no espaço cultural da cidade, solidificando uma posição e uma identidade. Como resultantes da Escola, foi possível identificar e mapear mais de 20 escolas e grupos de danças, bailarinas com destaque internacional e professoras universitárias na área da dança. O acervo pessoal de João Luiz Rolla, promotor e resultante desta tese, foi disponibilizado através do acesso livre à informação no Repositório Digital do CEME/UFRGS, ligado ao Repositório Institucional LUME/UFRGS, em um total de 1.034 itens, entre documentos, fotografias, artigos de jornais, convites, programas, desenhos, objetos tridimensionais e 48 entrevistas. Conclui-se que a Escola de Dança João Luiz Rolla constituiu-se em um espaço de representação da identidade cultural da dança na cidade de Porto Alegre pautada por suas obras coreográficas inovadoras que estabeleceram um fazer próprio em dança, característico dessa escola, e que se perpetuou através de seus desdobramentos e ramificações, estando consolidada no ideário dos sujeitos em que possibilitou as experiências vividas e na história da dança na cidade de Porto Alegre.
This doctoral thesis addresses, by a historical and cultural approach, the João Luiz Rolla Dance School (1951-1986) in the city of Porto Alegre. It aims to describe its constitution and history in the cultural scene of dance from João Luiz Rolla’s personal archive (documentary sources) and testimonials of the involved subjects (oral sources). For a period of 35 years, the João Luiz Rolla Dance School emerged as one of the biggest dance schools in the city, being the first founded by a male dancer. João Luiz Rolla was trained in dance at the Tony Seitz Petzhold School of Classical Dances and, after 10 years of studies, started his own school. Analysis of historical data revealed that the school, in the first years of operation, had already emerged in the cultural scene of dance in the city, using as a pedagogical strategy classical ballet education set in its own methodology, striving for strict discipline surrounded by affection and inserting different dance techniques. Thus, organized in stages, with tests, assessments and graduation, it gave to its students an Academic Ballet and Dance course certification with registration in the Department of Education of the Rio Grande do Sul State. As a cultural vehicle of expression of dance, the centerpiece of its history was a rapid rise in this scenario and the maintenance of this status, guided by creativity and innovation presented in 55 shows over the course of 35 years of activity. Choreographies such as “Burlesco”, “Grand Canyon Suite”, “Assassinato na Décima Avenida”, “Estudos Sinfônicos de Schumann”, “Crime no Night Club”, “Masquerade”, “A Orquestra”, “2001 Uma experiência pelas fronteiras sem fim da dança” are prominent works on this path and impacted the cultural space of the city, solidifying a position and an identity. As results of the school, it was possible to identify and map more than 20 schools and dance groups, dancers with international prominence and university professors in the field of dance. João Luiz Rolla’s personal archive, promoter and a result of this thesis, was made available in the CEME/UFRGS Digital Repository, linked to the LUME/UFRGS Institutional Repository, in a total of 1,034 items, including documents, photographs, newspaper articles, invitations, programs, drawings, three-dimensional objects and 48 interviews. We conclude that the João Luiz Rolla Dance School constituted a space of representation of cultural identity of dance in the city of Porto Alegre guided by its innovative choreographic works that established its own way of doing dance, characteristic of this school, and that perpetuated through its developments and ramifications, being consolidated in the ideology of the subjects in which it enabled the experiences lived and in the history of dance in the city of Porto Alegre.

APA, Harvard, Vancouver, ISO, and other styles

29

Lhortolat, Elisa. "Les représentations de genre dans la danse orientale et la danse American Tribal : regards croisés sur des pratiques et des discours." Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2019.

Full text

Abstract:

Cette étude a pour point de départ la pratique des danses orientales en France, aujourd’hui marquée par de nombreux débats autour des questions de tradition et de modernité. Deux pratiques seront ainsi mises en dialogue : la danse orientale dite Sharki, considérée comme la plus « authentique » et proche de la tradition égyptienne, et la danse American Tribal née aux États-Unis dans le contexte particulier de la contre-culture. À partir d’un travail de terrain en régions PACA et parisienne, des questions transversales à ces deux disciplines transparaissent, notamment concernant l’image des corps, croisant ainsi les questionnements de genre dans ces pratiques presque exclusivement féminines. À travers les pratiques et le discours, deux archétypes distincts de la féminité apparaissent en filigrane, posant la question de la construction et de la représentation du féminin, mais aussi paradoxalement du masculin dans ces deux formes de danses, pourtant si proches.Ce travail de recherche questionne à travers l’histoire, l’enquête de terrain mais aussi sur le plan du mouvement, la construction de ces visions stéréotypées du féminin. Quels images et imaginaires du féminin, et en conséquence du masculin, sont ici mis en jeu ? Comment s’inscrivent-ils dans les corps et dans le mouvement ?
This inquiry starts with the practice of bellydance in France, marked today by numerous debates around tradition and modernity. Two practices will thus be compared. On the one hand, bellydance known as Sharki, which is considered as the most “authentic” practice and the closest to the Egyptian tradition. On the other hand, the American Tribal dance, which emerged in the United States in the specific context of counter-culture.Based on fieldwork, some cross-questions common to these two practices are arising. Those are mostly about the vision of the body and the gender issues, in these almost exclusively female practices. Through the analysis of the practices and the discourses, two archetypes of femininity appear implicitly, raising the question of the construction and the representation of the feminine, but also, paradoxically, of the masculine in these two different forms of dance, yet so close one to the other. This research puts into question the construction of these stereotypical visions of the feminine, through the history of these dance forms but also in terms of movement. What are these images and imaginary representations of the feminine, and consequently, of the masculine, how are they brought into play ? How are they embodied in dance movement ?

APA, Harvard, Vancouver, ISO, and other styles

30

Coltice, Michelle Develay Michel. "La danse au collège le modèle de "pratiquant culturé /." [S.l.] : [s.n.], 2000. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2000/coltice_m.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Silva, Abílio de Matos Salgado e. "Observação e análise da performance rítmica-comparação das competências do ritmo motor entre jovens com experiência e sem experiência em dança, na perspectiva de definir objectivos de performance." Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Motricidade Humana, 2003. http://dited.bn.pt:80/29946.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Etonde, Bebey Kidi. "La danse et ses exploitations littéraires chez les romanciers sahéliens et bantous." Lille 3, 1993. http://www.theses.fr/1993LIL3A003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Gabion, Denhez Caroline Favre Robert. "Les danses macabres et leurs métamorphoses (1830-1930)." [S.l.] : [s.n.], 2000. http://demeter.univ-lyon2.fr/sdx/theses/lyon2/2000/gabion_c.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Silva, Ana Cristina Ribeiro 1980. "Dança de Rua : do ser competitivo ao artista da cena." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285220.

Full text

Abstract:

Orientador: úlia Ziviane Vitiello
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T12:11:59Z (GMT). No. of bitstreams: 1 Silva_AnaCristinaRibeiro_M.pdf: 23372685 bytes, checksum: 4863f5136d711a976b94e1cbdc892b3d (MD5) Previous issue date: 2014
Resumo: Este trabalho visou apresentar reflexões sobre as Danças Urbanas e suas possibilidades de atuação no campo educacional, competitivo e artístico. Além disso, verificou-se que a preparação corporal e artística destes dançarinos urbanos necessita contemplar procedimentos que favoreçam diferentes espaços como o palco italiano, espaços alternativos e ou locais onde ocorrem as batalhas, portanto, questiona-se a possibilidade de haver uma efetiva contribuição da técnica somática Ideokinesis. Como existe uma estreita relação entre a Cultura Hip Hop e as danças urbanas, observada em diferentes fatores como a maneira de se comportar na sociedade e a visão de mundo destes dançarinos, não poderia se falar de dança urbana, sem falar dos diferentes elementos que compõem esta cultura híbrida. Para este trabalho a pesquisa de campo foi realizada com a "Cia Eclipse Cultura e Arte" e Associação "Família Eclipse", na cidade de Campinas, São Paulo, onde foi importante observar desde a metodologia utilizada na preparação corporal do elenco até os espetáculos criados para diferentes espaços. Durante esta etapa da pesquisa houve também a oportunidade de investigar outros grupos nacionais e internacionais de dança urbana, o que contribuiu para o desenvolvimento de um olhar diferenciado para a dança urbana a partir dos conceitos da educação somática
Abstract: This research aimed to present reflections about urban dances and their possibilities of action in the educational, artistic and competitive field. Furthermore, it was verified that the body and artistic urban dancers preparation, needs to include procedures that promote different and alternative spaces like Italian stage, areas where battles happens, therefore, its question the possibility of an effective contribution of somatic Ideokinesis technique. As there is a close relationship between Hip Hop Culture and urban dances, it was observed different factors such as how to behave in society and the world view from all of these dancers, there is no way to speak of urban dance, and not to mention the different elements that make this hybrid culture. For this work the field research was held by "Cia Eclipse Culture and Art" and "Eclipse Family" Association in Campinas city, São Paulo, where it was important to observe the methodology used in the cast body preparation to the shows for different spaces. During this stage of the research there was also the opportunity to investigate other national and international groups of urban dance, which cont
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena

APA, Harvard, Vancouver, ISO, and other styles

35

Santos, Elizabete Silva dos. "Escore de risco Dante Pazzanese para síndrome coronária aguda sem supradesnivelamento do segmento ST." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/5/5131/tde-12092008-140813/.

Full text

Abstract:

INTRODUÇÃO: As doenças cardiovasculares representam uma importante causa de morte mundial. Geralmente, são a primeira causa, não só em países desenvolvidos, como também em desenvolvimento. Pacientes com Síndrome Coronária Aguda (SCA) sem supradesnivelamento do segmento ST (SST) apresentam ampla variação do risco para ocorrência de óbito ou eventos isquêmicos recorrentes. Determinar o risco da ocorrência desses eventos adversos é importante para a triagem inicial na seção de emergência, assim como para identificar os que se beneficiam de condutas mais agressivas, dispendiosas e de maior morbidade e mortalidade. OBJETIVO: Realizar um modelo simples de estratificação de risco, facilmente aplicável no Departamento de Emergência, em uma população brasileira não selecionada de ensaios clínicos com o uso de variáveis clínicas, eletrocardiográficas, bioquímicas e biomarcadores plasmáticos. CASUÍSTICA E MÉTODOS: É um estudo prospectivo de pacientes com SCA sem SST recrutados de 1 de julho de 2004 a 31 de outubro de 2006. Foram submetidos a seguimento de 14 e 30 dias para análise do desfecho de morte por todas as causas, infarto (re-infarto) e revascularização miocárdica urgente por isquemia recorrente e de 180 dias para o desfecho de morte por todas as causas. Excluíram-se os pacientes com bloqueios de ramo, ritmo de marcapasso, ritmo de fibrilação atrial e os com episódio isquêmico secundário a causas não cardíacas. Para o modelo de desenvolvimento, optou-se pelo desfecho de morte por todas as causas ou infarto (re-infarto) em até 30 dias. Dados da história clínica, exame físico, eletrocardiograma da admissão, hemograma, bioquímica e biomarcadores plasmáticos foram selecionados para uma análise exploratória. As variáveis que apresentassem nível de significância menor que 10% na análise exploratória ou que fossem consideradas de relevância clínica, foram submetidas a um modelo de regressão logística múltipla. RESULTADOS: A população de desenvolvimento foi de 1.027 pacientes, sendo 589 homens (57,4%) e média de idade de 61,55 anos (± 0,35). O desfecho combinado de morte ou infarto (re-infarto) em 30 dias ocorreu em 54 pacientes (5,3%). Em decorrência do fenômeno de multicolinearidade entre a depressão do segmento ST e a troponina I cardíaca, estas variáveis foram combinadas. Foram identificadas sete variáveis prognósticas: idade em anos; antecedentes pessoais de diabete melito ou acidente vascular cerebral; não uso de inibidor da enzima conversora da angiotensina; combinação de elevação da troponina I cardíaca e depressão do segmento ST; creatinina sérica. O C statistic para o modelo de desenvolvimento foi de 0,78 e para o Escore de Risco Dante Pazzanese foi de 0,74. CONCLUSÃO: Em pacientes com SCA sem SST, o Escore de Risco Dante Pazzanese mostrou-se de fácil execução, com alto valor preditivo para eventos cardiovasculares em 30 dias de evolução, orientando o prognóstico e o tratamento desses pacientes. Pode ser fonte de informações à equipe médica, ao paciente e a seus familiares, englobando importante informação prognóstica.
BACKGROUND: Cardiovascular diseases are usually the leading cause of death in both developed and developing countries. Patients with non-ST-segment elevation (NSTE) acute coronary syndrome (ACS) are at varying degrees of risk for death and recurrent ischemic events. It is important that the risk for these adverse events be determined for the initial screening at the emergency department, as well as for identifying patients who may benefit from treatment options that are more aggressive, expensive and associated with higher morbidity and mortality. OBJECTIVE: To develop a simple risk-stratification model, easily performed in the Emergency Department setting, based on a non-selected Brazilian sample of clinical trials using clinical, electrocardiographic, and biochemical variables, as well as plasma biomarkers. PATIENTS AND METHODS: This is a prospective study of patients with NSTE-ACS recruited from July 1 2004 to October 31 2006. Patients were followed up for 14 and 30 days to assess the endpoints of all-cause mortality, infarction (reinfarction), and urgent myocardial revascularization due to recurrent ischemia, and for 180 days to assess all-cause mortality. Patients with bundle branch blocks, pacemaker rhythm, or atrial fibrillation were excluded from the study, as were those with ischemic episodes of non-cardiac causes. For the model under development the endpoint chosen was all-cause mortality or infarction (reinfarction) up to 30 days. Data on clinical history, physical examination, admission electrocardiogram, blood cell count, biochemistry, and plasma biomarkers were selected for an exploratory analysis. Variables with a significance level of less than 10% on the exploratory analysis or considered clinically relevant were included in a multiple logistic regression model. RESULTS: The study population included 1027 patients, of which 589 were men (57.4%). Mean age was 61.55 (± 0.35). Fifty-four patients (5.3%) reached the endpoints of death and/or infarction (reinfarction) within 30 days. Due to the multicolinearity phenomenon between ST-segment depression and cardiac troponin I, these variables were combined. Seven prognostic variables were identified, namely, age in years, past history of diabetes mellitus or stroke, nonuse of angiotensin-converting enzyme inhibitors, increased cardiac troponin I levels combined with ST-segment depression; and serum creatinine. The C-statistic for the model was 0.78, and for the Dante Pazzanese Risk Score was 0.74. CONCLUSION: In non-ST-segment elevation ACS patients, the Dante Pazzanese Risk Score proved to be easy to perform, with a high predictive value for cardiovascular events at 30 days, guiding prognosis and treatment of these patients. It may be a source of information for the medical team, the patients and their families, including important prognostic data.

APA, Harvard, Vancouver, ISO, and other styles

36

Kilgore, Elizabeth Ann. "A Study of the Work and Interactions of Exotic Dancers." Ohio University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1040068806.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Jackson, Jeanette. "Culturally-Responsive Dance: Building Community One Step at a Time." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1356091805.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Guillen, Marissa E. "The Performance of Tango: Gender, Power and Role Playing." Ohio : Ohio University, 2008. http://www.ohiolink.edu/etd/view.cgi?ohiou1213208506.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Gravina, Heloisa Corrêa. "Ser da praça : performance-etnografia na Praça da Alfândega, Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/10277.

Full text

Abstract:

Este trabalho trata das apropriações e usos do espaço público da Praça da Alfândega, centro de Porto Alegre. Construí minha inserção em campo através da realização de uma performance artística no local - baseada numa linguagem de dança contemporÂnea -, transformada, por um uso especifico, em parte do método etnográfico. A partir das interações ocorridas durante o evento performático ou motivadas por ele, delimitei meu universo de pesquisa: prostitutas, vendedores, catadores de papel, aposentados - enfim, pessoas que ocupam a praça cotidianamente e têm uma relação de identificação com aquele espaço. Assim, iniciei propondo a performance artística que realizara como tema de diálogo com este universo para, em seguida, passar a uma compreensão das dinâmicas que organizam o espaço da praça como um espaço vivido por esses atares. Observando as práticas, performançes e narrativas dos sujeitos, busquei acessar processos de construção das subjetividades na relação com aquele contexto social. A performance enquanto abordagem antropológica permeou todo o trabalho, sendo mobilizada de maneiras e com propósitos diferenciados no decorrer do processo: como base para a estrutura dramatúrgica da performance artistica; enquanto abordagem para dar conta dos aspectos performátivos das ações cotidianas, e como ferramenta analítica, possibilitando a compreensão dos eventos performáticos como arenas reflexivas através das quais pontos de tensão pouco visíveis na vida ordinária eram explícitados.
This research studies how the public space of the Praça da Alfândega - a historic site in the central area of Porto Alegre - is commonty "used" by the local workers and inhabitants, which identify themselves with that space. As an inportant part of the ethnographic method, artistic presentations based in the language of contemporary dance were performed by the author at Praça da Alfândega. Those presentations provided the means to engage in the fieldwork, to interact with lhe locals and to circumscribe the universe of the research: prostitutes, salesmen, paper collectors, pensioners. Through the observation of the practices, performances and narratives present in that specific social context, the study focused in the analysis of the dynamics by which that space is organized by its ordinary occupants and the process of construction of subjectivities, related to the use of that space. The concept of performance was praposed as an anthropological tool, used with different purposes and in different ways throughout the research: as a base to the dramatic structure of the artistic performance, as a perspective from which to observe the performativity related to daily actions and as an analytic device - providing the means to understand social events as refiexive arenas where opaque aspects af the ordinary life are made visible.

APA, Harvard, Vancouver, ISO, and other styles

40

Doignon, Aurélie. "La "mise en savoirs" des danses africaines : Approche anthropo-didactique des liens entre transposition d’une pratique culturelle et évolution de ses modes de diffusion : le cas du sabar au Sénégal et en France." Thesis, Bordeaux, 2019. http://www.theses.fr/2019BORD0257.

Full text

Abstract:

Danse des quartiers populaires de Dakar, le sabar fait l’objet de reconfigurations professionnelles et spatiales. Autrefois défini par la naissance au sein d’une lignée de griots, et un enseignement structuré par des institutions informelles, de nouveaux cadres viennent structurer ce tableau de manière plus formelle, intégrant la danse dans la catégorie « art », qui pose les prémices d’une nouvelle structuration économique. Les griots, dont le savoir relève d’une transmission ataviste ne sont finalement plus en majorité aujourd’hui dans le cercle professionnel de la danse. Ceci entraine de nouvelles attitudes de transmission, de formation et d’apprentissage de la danse. Le sabar s’institutionnalise, pour mieux se rapprocher du champ chorégraphique légitime international. La dialectique entre références traditionnelles (religieuse, aux anciens, etc.) et ancrage dans la modernité est étudiée, à l’aune des stratégies de la nouvelle professionnalisation de ces danseurs. Comment ces processus d’institutionnalisation et de transposition de la pratique du sabar vont permettre et favoriser ces échanges, ces flux de corporéités et de danseurs à travers le monde et de recomposer les espaces ? Devenir danseur de sabar, à un niveau professionnel, relève de parcours protéiformes, à la fois issus des apprentissages « classiques », formels, et des apprentissages quotidiens, informels ; et marque de fait la porosité des catégorisations structurelles des apprentissages. Cette thèse met en relief les modifications multiples qu’entraine cette mise en savoir, des modifications gestuelles et chorégraphiques déjà, mais aussi didactiques et inévitablement sociétales, reconfigurant les modalités de genre et de statut social
Dance of the popular districts of Dakar, sabar dance is subject to professional and spatial reconfigurations. This dance was formerly defined as originating from a line of griots and education through informal institutions. New frames structure this dance tradition in a more formal way, integrating it in the "art" category and leading to a new economic structure. The griots, whose knowledge is an atavist transmission, are no longer in the majority in professional circles of dance. This leads to new attitudes of transmission, training and learning of dance. The sabar is institutionalized, to access the international legitimate choreographic field. This thesis studies the dialectic between traditional references (religious, old, etc.) and modern approaches, in light of the new professionalization of these dancers. How do the processes of institutionalization and transposition of the practice of the sabar allow and encourage exchanges and circulation of corporealities and dancers around the world? Becoming a sabar dancer at a professional level means getting one’s education both from "classical" and formal learning, and from everyday, informal learning This overall education marks the porosity of the structural categorizations of learning. This thesis highlights the multiple modifications involved in this learning. It explores choreographic changes and shows how sabar dance is undergoing a reconfiguration in terms of gender and social status

APA, Harvard, Vancouver, ISO, and other styles

41

Silva, Maria Aparecida Linhares dos Santos. "Sentir, Criar, Dançar: o autoconhecimento como fundamento para a Dança-Educação." Universidade Federal da Bahia, 2007. http://repositorio.ufba.br/ri/handle/ri/14689.

Full text

Abstract:

Submitted by Edileide Reis (leyde-landy@hotmail.com) on 2014-02-19T16:44:35Z No. of bitstreams: 1 Maria Aparecida Linhares dos Santos Silva.pdf: 5396289 bytes, checksum: 5e6ecc78480d1fd12d7e2c0951234cdd (MD5)
Approved for entry into archive by Alda Lima da Silva (sivalda@ufba.br) on 2014-02-21T19:32:32Z (GMT) No. of bitstreams: 1 Maria Aparecida Linhares dos Santos Silva.pdf: 5396289 bytes, checksum: 5e6ecc78480d1fd12d7e2c0951234cdd (MD5)
Made available in DSpace on 2014-02-21T19:32:32Z (GMT). No. of bitstreams: 1 Maria Aparecida Linhares dos Santos Silva.pdf: 5396289 bytes, checksum: 5e6ecc78480d1fd12d7e2c0951234cdd (MD5)
A práxis pedagógica resultante desta pesquisa sobre a Dança-Educação e sua criação artística, foi desenvolvida através da conscientização dos processos sensoriais do Ser-dan-çarino, da busca do autoconhecimento como fator fundamental na transversalidade de todo aprendizado da Dança, e da necessidade artística e profissional dos alunos da Escola de Dança da UFBA. Essa busca foi fundamentada pela Dança-Educação, pela Psicologia, es-pecificamente teoria da Análise Transacional, pela teoria do Umwelt (entorno ou auto mundo) de Jacob Von Uexküll trabalhando no encontro de um material específico que pode ser utilizado pelo dançarino para a sua criação. Trazemos a teoria dos Sistemas que funda-menta o sistema Ser-Corpo e seu Universo e a teoria da Complexidade. O trabalho artístico elaborado foi o desenvolvimento de um processo de composição em dança que levasse as oito alunas do grupo criado para essa pesquisa à criação de uma dança genuína do ser dan-çarino. A dança genuína é individual e foi baseada no trabalho de busca do autoconheci-mento de cada uma dessas alunas. O autoconhecimento foi o fator fundante para o conheci-mento e reconhecimento do Ser-Corpo e da Arte da Dança. Essa processo busca conhecer, reconhecer e apreender a informação ressignificada pelo Corpo que, estando em constante relação com seu ambiente de vivência é registro de acontecimentos, é mídia, e busca, através da Arte da Dança, constituir-se como um Ser-integral, Ser-Dança, Ser-Pleno.

APA, Harvard, Vancouver, ISO, and other styles

42

O'Bomsawin-Bégin, Maxime. "Confluence d'influences chez Dowland: Musique mesurée, danse, rhétorique et ballade populaire anglaise au sein de ses airs pour luth." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28392.

Full text

Abstract:

Afin de déceler et d'apprécier une confluence d'influences diverses et clairement définies au sein de l'air pour luth chez Dowland, cette étude veille au premier chapitre à établir le contexte théorique qui lui servira d'assise sous-jacente par la suite: elle parvient à se justifier la pertinence et le potentiel d'un recours à deux sources, soit le Musice Active Micrologus (1517) d'Andreas Ornithoparchus et Le Droict Chemin de Musique (1550) de Louis Bourgeois. Par analyse réticulaire, les chapitres subséquents certifient cette confluence, et précise notamment que si l'influence de la musique mesurée n'est pas concluante, l'influence de la danse est, quant à elle, centrale. En tant qu'influences complémentaires, la rhétorique et la ballade populaire anglaise -- entre autres -- seront également traitées au sein de cet enchevêtrement dynamique évoluant au fil du discours musical. Croisements, fusions, unions et oppositions; notamment, seront expliqués en termes de concomitances, mutualités et symbioses.

APA, Harvard, Vancouver, ISO, and other styles

43

Pouzoulet, Christine. "La construction du modèle de Dante comme poète national de l'Italie romantique : de Mme de Stae͏̈l à Quinet, l'exemple de Claude Fauriel (1772-1844) et du réseau de ses relations." Paris 3, 1996. http://www.theses.fr/1996PA030063.

Full text

Abstract:

Ce travail se propose de montrer comment la rehabilitation de dante a l'epoque romantique et sa sacralisation comme premier poete national de l'italie resultent de la liaison intrinseque de deux nouvelles approches. D'une part, l'emergence d'une mise en perspective historique du fait litteraire chez les ideologues et dans le groupe de coppet, puis le developpement de la nouvelle discipline universitaire des litteratures etrangeres apres 1830, modifient la perception de dante, en le resituant dans son epoque et en eclairant son genie comme creation fondatrice d'une langue et d'une litterature nationales. Dante fait ainsi l'objet d'une recuparation politique et devient un symbole liberal, temoignant des droits de l'italie a vivre comme nation. Ce travail analyse donc corollairement le fonctionnement du modele de dante dans le debat liberal francais sur le destin politique et culturel de l'italie. Cette reflexion comparatiste est menee a l'interieur du reseau des relations de laude fauriel (1772-1844) entre la france, l'italie et l'allemagne. Issu du groupe des ideologues, lie a mme de stael et benjamin constant, puis a victor cousin et a l'ecole des jeunes historiens liberaux de la restauration (guizot et thierry surtout) ainsi qu'a stendhal a son retour de milan en 1821, et a quinet apres 1830, fauriel est le premier titulaire de la chaire de litterature etrangere creee a la sorbonne apres la revolution de 1830. Son cours en 1833-34, dante et les origines de la langue et de la litterature italiennes, manifeste sa double attention aux recherches les plus recentes de la philologie allemande et aux preoccupations esthetiques et politiques des romantiques italiens, avec qui il entretient des liens privilegies par son amitie avec manzoni, son sejour en italie de 1823 a 1825, et ses echanges avec visconti et berchet
The present research aims at demonstrating how the rediscovery of dante in the romantic era and his subsequent sacralisation as the national poet of italy resulted from the conjunction of two developments. The emergence of a new historical approach to litterature, as practiced by the ideologues and the coppet group together with the institutionalization in the 1830's of foreign literatures as full-fledged academic disciplines, generated a renewed, historicized conception of dante and enlightened his poetic genius as the founding of a national language and literature. Dante's persona was charged with a new political dimension and made into a symbol of italy's legitimacy in existing as a nation. Therefore this work also consideres the functioning of dante as a model in the literal debate carried out in france on the political and cultural destiny of italy. This comparative approach is worked out through a study of fauriel's intellectual network throughout france, italy, germany. Fauriel was the first professor to hold the chair of foreign literature created at la sorbonne after the 1830 revolution. The course he professed in 1833-1834, dante and the origins of italian language and literature, demonstrates his twofold concern for the most recent research in germany and the aesthetic and political discussions carried by the italian romantics to whom he was cloesely related, through his personal friendship with manzoni, his stay in italy from 1823 to 1825 and his exchanges with visconti and berchet

APA, Harvard, Vancouver, ISO, and other styles

44

Ferreira, Marcos Rodrigues. "Vai ser bailarina! : um estudo sobre construção de identidade e luta por reconhecimento." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251521.

Full text

Abstract:

Orientador: Agueda Bernardete Bittencourt
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-14T20:14:57Z (GMT). No. of bitstreams: 1 Ferreira_MarcosRodrigues_M.pdf: 21084510 bytes, checksum: 31121f5a6b23dd5ffb320cee4caa34c7 (MD5) Previous issue date: 2009
Resumo: Este trabalho estuda uma experiência de ensino de dança clássica para crianças de um bairro/favela do município de Mogi das Cruzes. A experiência iniciada na escola pública estadual, no quadro do projeto Escola da Família, é dirigida pelo trabalho voluntário de duas mulheres, uma bailarina e sua mãe. O estudo parte das narrativas orais - produzidas pelas voluntárias professoras de dança e pelas famílias das crianças envolvidas - para compreender as possibilidades de atribuição de sentidos próprios a uma atividade tradicional e portadora de prestígio e reconhecimento. Interpreta o lugar reservado para as oficinas de balé em relação ao movimento dos moradores do bairro nos embates com a cidade, com os poderes públicos e com a imprensa. O local onde as oficinas são realizadas, a Vila Estação, está em luta com o poder público pelo reconhecimento como espaço oficial. Este espaço/lugar mostrou-se um acontecimento que resulta das articulações e das desarticulações entre as multiplicidades simultâneas que nele coexistem. O que o estudo apreende no encontro do trabalho voluntário com as lutas políticas do bairro/favela são expressões da complexidade da cultura contemporânea nesta tensão/distensão emaranhada de diferenças e semelhanças, disputas e alianças. A construção do reconhecimento de um bairro e a formação de identidade pessoal, de uma persona meticulosamente elaborada, são projetos que se entrecruzam na história tratada nesta dissertação.
Abstract: This work studies an experience of classic dance education for children of a quarter/slum quarter of the city of Mogi das Cruzes. The experience initiated in the state public school, in the Escola da Família project, is directed by the voluntary work of two women, a dancer and her mother. The study it has left of the verbal narratives - produced for the voluntary teachers of dance and the families of the involved children - to understand the possibilities of attribution of precise meanings to a traditional and carrying activity of prestige and recognition. It interprets the place reserved for the workshops of ballet in relation to the movement of the inhabitants of the quarter in them strike with the city for recognition. The place where the workshops are carried through, the Vila Estação, is in fight with the public power for the recognition as official space. This space/place revealed an event that results of the joints and of the disarticulations between the simultaneous multiplicities that in it coexist. What the study it apprehends in the meeting of the voluntary work with the fights politics of the quarter/slum quarter entangled distention of differences and similarities are expressions of the complexity of the culture contemporary in this tension, disputes and alliances. The construction of the recognition of a quarter and the formation of personal identity, and the process about one persona meticulously elaborated, are projects that intercross the history treated in this dissertation.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

APA, Harvard, Vancouver, ISO, and other styles

45

Leitão, Maria Balbina Dias Pires. "Mover, Co-Mover, Ver - História de uma indagação através da prática artística." Master's thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27796.

Full text

Abstract:

Todo o nosso desejo se organiza em torno do ver. Deixamos de ser o pouco que somos quando damos sentido e incorporamos o que vemos. O corpo, enquanto forma e reflexo da história pessoal dependente da experiência sensível e significativa no mundo, sujeito a diferentes modos de ver e ser visto, é o meu objecto de estudo central. Esta investigação irá assentar em questões de corporeidade e identidade que, ao longo da vida, vão sofrer alterações e adquirir novas formas, cicatrizes e reconformações. Tendo como ponto de partida a minha prática artística de pintura, desenho, gravura e vídeo, a investigação MOVER, CO-MOVER, VER aspira integrar movimento, cor, palavras, imagens, reflexões, fragmentos, filmagens – para ir mais além, tendo como referência o estado da arte do nosso tema de estudo central, isto é, as questões do corpo e da visão a partir de artistas que cruzam o universo das artes desde a pintura, vídeo, performance, movimento, instalação e literatura. Entre estes artistas destaco Carolee Schneemann, Nancy Spero, Clarice Lispector e Pablo Neruda. Para enquadrar esta compreensão, apoio-me em pensadores importantes na área de estudos culturais, história de arte, e ciências sociais como Ana Gabriela Macedo, José A. Bragança de Miranda, Susan Gubar, Adrienne Rich, Hélène Cixous, Nancy Huston, David Le Breton, Georges Didi-Huberman e Italo Calvino. Este trabalho é uma indagação interminável, re-visão sempre incompleta da nossa sobre-vivência; Title: MOVE, CO-MOVE, SEE – History of an inquiry through artistic practice ABSTRACT: All our desire is organized around seeing. We stop being the little we are when we make sense and incorporate what we see. The body, as a form and reflection of personal history dependent on sensitive and meaningful experience in the world, subject to different ways of seeing and being seen, is my central object of study. This research will be based on corporeality and identity issues that, throughout life, will change and acquire new forms, scars and reconformations. Taking as a starting point my artistic practice of painting, drawing, engraving and video, the research MOVE, CO-MOVE, SEE aspires to integrate movement, color, words, images, reflections, fragments, footage – to go further by reference to the stateof-the-art of our central subject matter, that is, the questions of body and vision from artists that cross the universe of the arts from painting, video, performance, movement, installation and literature. These artists include Carolee Schneemann, Nancy Spero, Clarice Lispector and Pablo Neruda. To frame this understanding, I rely on leading thinkers in the field of cultural studies, art history, and social sciences such as Ana Gabriela Macedo, Jose A. Bragança de Miranda, Susan Gubar, Adrienne Rich, Nancy Huston, David Le Breton, Georges Didi-Huberman, Italo Calvino. This work is an endless quest, always incomplete re-view of our survival.

APA, Harvard, Vancouver, ISO, and other styles

46

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

47

Pereira, Sayonara Sousa. "Rastros do Tanztheater no processo criativo de ES-BOÇO : espetaculo cenico com alunos do Instituto de Artes da UNICAMP." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285046.

Full text

Abstract:

Orientador: Inaicyra Falcão dos Santos
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-09T15:06:14Z (GMT). No. of bitstreams: 1 Pereira_SayonaraSousa_D.pdf: 4308087 bytes, checksum: 6528476f4d8fbfa0027de0187d661a80 (MD5) Previous issue date: 2007
Resumo: O percurso desenvolvido nesta pesquisa teve como ponto de partida o Tanztheater2, movimento de dança que ocorreu na Alemanha a partir de 1932, e considerações sobre a obra de quatro de seus principais protagonistas, respectivamente: Kurt Jooss, Dore Hoyer, Pina Bausch e Susanne Linke. Em seu prosseguimento, a pesquisa foi articulada no desenvolvimento profissional da autora por meio das influências absorvidas ao longo dos trabalhos com Tanztheater, estudos na Folkwang Hochschule Essen e na Hochschule Für Musik Köln; e o incremento da carreira da autora como bailarina, coreógrafa e pedagoga nos anos que atuou na Alemanha (1985-2004). Para a sua realização efetiva, foi adotada, na pesquisa a combinação de vários métodos: revisão bibliográfica e videográfica relevantes, observação participante e entrevistas semi-estruturadas. Como resultado deste percurso, foi criado o espetáculo cênico ES-BOÇO, realizado com alunos do Instituto de Artes da Unicamp, onde se encontra refletida a influência do Tanztheater na caligrafia coreográfica desenvolvida pela pesquisadora
Abstract: The objective of this study is twofold: to research the German Tanztheater3 and the work of four of its leading influencers, and to develop a stage performance with the participation of students of the Arts Institute of the Universidade Estadual de Campinas (Unicamp). A combined approach of literature and videographic reviews, participant observation, and semi-structured interviews is adopted to carry out this study. The study characterizes Tanztheater and analyzes the work of Kurt Jooss, Dore Hoyer, Pina Bausch, and Susanne Linke, based on the experiences of the author while studying, performing, teaching, and choreographing in Germany from1985 to 2004. The stage performance ES-BOÇO, which reflects the influence of the Tanztheater in its choreographic style, was created by the author as a result of this research
Doutorado
Doutor em Artes

APA, Harvard, Vancouver, ISO, and other styles

48

Cometti, Dominique. "Evolution langagière des représentations de la danse : la différence garçons/filles à 10, 11 et 15 ans." Dijon, 2003. http://www.theses.fr/2003DIJOL026.

Full text

Abstract:

L'analyse propositionnelle de discours utilisée dans cette recherche permet de dégager l'organisation tridimensionnelle des représentations de la danse. Les différentes formes du référent de la danse à savoir : " les images sociales " (différenciation des styles de danse) " le concept " (aspect général) et " l'activité " (éléments de contenu) se distribuent différemment selon les âges étudiés. Il ressort de cette étude que la différence garçons/filles est très marquée à 10 ans : les filles se portant davantage sur " l'activité ". Les garçons de 11 ans sont soucieux de parler des " images ", signalant ainsi un " danger " identitaire possible. Les jeunes de 15 ans polémiquent sur les " images " tout en restant conformes à leur stéréotype de genre. Ils privilégient le hip hop. Il est constaté qu'une logique sociale de différenciation des genres masculin/féminin s'articule entre les logiques biologique et cognitive de développement
A three-dimensional organisation of dance representation was revealed in this study through speech analysis. The various ways of speaking about dance in terms of: "social image", "concept" and "activity" were found to differ according to age. There is a distinct boy/girl difference at 10 years old: girls emphasize the "activity" more. Eleven year old boys aren't hesitant to speak of dance style revealing identity concerns. Fifteen year olds debate about dance style yet conform to their gender stereotype. They prefer hip hop. One needs to consider the social logic of dance regarding masculine/feminine gender differentiation on the one hand, and the biological and cognitive logic concerning development on the other hand

APA, Harvard, Vancouver, ISO, and other styles

49

Borba, Daniela Farias Garcia de. "APRENDER E ENSINAR A SER GAÚCHO DENTRO DO GRUPO DE DANÇAS BIRIVA TROPEIROS DE DOIS MUNDOS." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/7081.

Full text

Abstract:

This dissertation is part of the Master Degree research of the Post-Graduation Program in Education of Federal University of Santa Maria/ RS, bound into the Education and Arts line and into the Research Group Difference, Education and Culture (DEC-UFSM). The investigation, of ethnographic perspective, has as object the study the dancing group Agrupando Biriva Tropeiro de Dois Mundos , from Encantado city / RS, and it searches for evidence in the meanings of the dance for the participants of this group, in order to take it as more one culture once it generates an own universe of meanings, it produces identities and it deals ways of teaching and learning to be gaúcho. This Master Degree essay is a possible version of comprehension of the process of learning and production of meanings about the gaúcha traditionalist culture inside biriva dancing group. It enrolls as an ethnographic, a narrative text, in which there is the intention of the author‟s impressions, ways and misleading let their footprints for the reader knows the insertion and comprehension process of reality in that this research is submerged, as in the reality of the researched field as the theoretical reality and the author‟s subjectivity.
Esta dissertação é parte de uma pesquisa de mestrado do Programa de Pós-graduação em Educação da Universidade Federal de Santa Maria/RS, vinculada à Linha Educação e Artes e ao Grupo de Pesquisa Diferença, Educação e Cultura (DEC-UFSM). A investigaçãotem como objeto de estudos o grupo de danças Agrupamento Biriva Tropeiro de Dois Mundos , da cidade de Encantado/RS, analisados a partir da perspectiva dos Estudos Culturais, utilizando de autores como Costa (2003), Hall (1997), Silva (1995), Veiga-Neto (2000). Analisaram-se narrativas presentes nas leituras do cotidiano de ensaios e apresentações públicas do grupo e nos artefatos simbólicos, os quais compõem a identificação deste grupo de danças, e problematizou-se a produção de identidades sob o viés das pedagogias culturais. A abordagem da pesquisa é qualitativa, através de um estudo realizado com participantes do Agrupamento BirivaTropeiros de Dois Mundos. Foram utilizados a observação participante, a entrevista e o diário de campo como instrumentos de coleta de dados. Como resultado da investigação, notou-se, na análise de cunho cultural deste grupo de danças, os modos de ser entre os sujeitos deste grupo dão um tom de busca de uma maneira mais autêntica de ser gaúcho, de produzir a dança gaúcha, onde o dançarino possa expressar a sua interpretação para a dança, além do desenvolvimento de certa criticidade em relação ao consumo e à competitividade implicadas nas danças tradicionais. Nesse sentido, vê-se a importância da construção de uma aproximação da educação, nas diversas instâncias culturais, e sobre o produto cultural como o grupo de danças biriva inseridos na abordagem dos Estudos Culturais.

APA, Harvard, Vancouver, ISO, and other styles

50

Chatagnon-Weiler, Pauline. "Claude Pujade-Renaud ou le corps en ses métamorphoses." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1014.

Full text

Abstract:

De la danse à l’écriture, le parcours de Claude Pujade-Renaud se caractérise par l’hétérogénéité des pratiques sportives, artistiques, universitaires et littéraires. En soulignant les rapports étroits de l’histoire vécue et de l’œuvre littéraire, cette thèse met l’accent sur les interactions permanentes entre les mots et les corps. L’étude du corpus, composé de treize romans, cinq recueils de nouvelles, une correspondance et une« duobiographie », montre combien l’écriture se construit bien avant les premières publications. Elle se nourrit des premières confrontations aux mots et à la langue orale ou écrite, s’inscrivant dans un rapport singulier aux personnes, aux lieux et aux temps. Pressentie, l’écriture devient quête d’une histoire tue. Il s’agit de montrer de quelle manière Claude Pujade- Renaud interroge l’usage de la forme – romanesque, novellistique,« duobiographique » ou épistolaire – pour ressaisir un personnage et l’usage-même de l’écriture. Il s’agit aussi d’étudier les métamorphoses du corps à travers les âges et l’évolution de son rapport aux mots. A travers des étapes successives – vie fœtale, enfance, adolescence, âge adulte et extrême vieillesse –on assiste moins à une réflexion sur le temps qui passe qu’à une méditation sur ce que les mots, dits, écrits, tus, font naître d’eux. Réinterrogeant les âges, les mots conduisent alors à la quête intime d’une identité singulière
From dancing to writing, Claude Pujade-Renaud’s personal trajectory is characterized by heterogeneous sporting, artistic, academic and literary activities. With a heavy emphasis laid on the tight links between real-life stories and narrative plots, this Phd thesis stresses the permanent interactions between bodies and texts.The idea that a literary work is shaped well before its publication will be developed thanks to the analysis of a body of reference works made up of thirteen novels, five collections of short stories, a literary correspondence and a dual autobiography.A literary work is enriched by the initial attempts to put it down into words, using a written or an oral language. Hence, it establishes a particular relation to people, places and time.As an element that is often only sensed, the process of writing seeks to transcribe an untold story. This Phd thesis will show to what extent Claude Pujade-Renaud questions literary genres – a novel, a shot-story, a dual autobiography, a correspondence – to recapture characterization and the necessity of writing. Also, this thesis focuses on bodily metamorphoses throughout time and the writer’s evolution in her choice of words. Through the successive steps of foetal life, early childhood, adolescence, adulthood and old age, we are not just led to consider an analysis on time passing by, but rather, a meditation on the creative potential of words, when they are written but also when they not uttered. As words re-examine the various ages of life, they guide use during an intimate quest for a particular identity

APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic 'Sex in dance'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles