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Howard, Suzanne, i suzieholidayhoward@hotmail com. "Learning to Dance". RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080215.163153.
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This research will examine the various techniques of writing stage directions for choreography or dance action within a feature film script. I will discuss and analyse two methodologies for annotating choreography, both developed by experts in dance notation. I will also examine and interpret the observations made by film director, dancer and choreographer Bob Fosse about the purpose and objectives of dance action in feature film scripts. I will examine two case studies of contemporary feature film scripts that contain dance action. The selected scripts are Strictly Ballroom (Australia, 1992) and Flashdance (USA, 1983). These scripts do not use a published system of dance notation to write dance action. I will analyse and investigate the stage directions for choreography and dance action used within both scripts. The exploration of these various approaches to film choreography may form the basis for writing stage directions for choreography or dance action in my own feature length screenplay titled Learning to Dance. As a screenwriter with particular interest in dance I intend to employ dance sequences at different stages throughout my script as a story telling mechanism. It is important to me to be able to clearly communicate and translate choreographic direction into my script in a manner that ensures its eventual interpretation fulfils its original purpose in the story. Therefore I am seeking a methodology for translating and expressing dance sequences in an accurate and concise written form. One key outcome of my research may be the development of a structural and technical framework for providing choreographic direction appropriate to the conventions of screenplay writing. I therefore intend to contribute to the screenwriting field by attempting to develop a framework for providing stage directions for choreography within a film script and then applying this framework within my own screenplay, Learning to Dance. In addition to the study of choreographic notation I will explore the observations made by film theorists such as Adrian Martin, Jerome Delamater, Rick Altman, J.P Telotte and Steve Neal about genres that contain dance action as a defining characteristic. It is my intention to write a screenplay that in part, borrows from the customs and codes of an established genre or subgenre. Therefore my objective is to understand, appreciate and reflect upon the genre the best fits my vision of Learning to Dance. Learning to Dance is the story of Giselle Williams (18) who aspires to be a professional dancer. When Giselle's father is arrested for fraud Giselle is forced to abandon her wealthy surrounds to live and work in one of Melbourne's tough, inner city, high-rise public housing estates. Here Giselle meets her key support roles, Muslim siblings Yasmina (21) a talented belly dancer and her handsome brother and Giselle's future love interest Ali (20) who welcome Giselle into their humble, tight knit and family oriented community.
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Roche, Jennifer. "Moving identities : multiplicity, embodiment and the contemporary dancer". Thesis, University of Roehampton, 2009. https://pure.roehampton.ac.uk/portal/en/studentthesis/moving-identities(aa615983-71d0-4022-a3d3-2dbc03b8fd51).html.
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Currently, across dance studies, choreographies are usually discussed as representational of the choreographer, with little attention focused on the dancers who also bring the work into being. As well as devaluing the contribution that the dancer makes to the choreographic process, the dancer’s elision from mainstream discourse deprives the art form of a rich source of insight into the incorporating practices of dance. This practice-based research offers a new perspective on choreographic process through the experiential viewpoint of the participating dancer. It involves encounters with contemporary choreographers Rosemary Butcher (UK), John Jasperse (US), Jodi Melnick (US) and Liz Roche (Ire). Utilizing a mixed-mode research structure, it covers the creative process and performance of three solo dance pieces in Dublin in 2008, as well as an especially composed movement treatise, all of which are documented on the attached DVD. The main hypothesis presented is that the dancer possesses a moving identity which is a composite of past dance experience, anatomical structures and conditioned human movement. This is supported by explorations into critical theory on embodiment, including Pierre Bourdieu’s concept of ‘the habitus’. The moving identity is identified as accumulative, altering through encounters with new choreographic movement patterns in independent contemporary dance practice. The interior space of the dancer’s embodied experience is made explicit in chapter 3, through four discussions that outline the dancer’s creative labour in producing each choreographic work. Through adopting a postmodern critical perspective on human subjectivity, supported by Gilles Deleuze, Félix Guattari and Alain Badiou, among others, the thesis addresses the inherent challenges which face independent contemporary dancers within their multiple embodiments as they move between different choreographic processes. In identifying an emergent paradigmatic shift in the role of dancer within dance- making practices, this research forges a new direction that invites further dancer-led initiatives in practice-based research.
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Parviainen, Jaana. "Bodies moving and moved : a phenomenological analysis of the dancing subject and the cognitive and ethical values of dance art /". Tampere : Tampere university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb377551707.
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Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s". Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.
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This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities—the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on “techniques of the body,” and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of “inefficiency” in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques—as represented in the recurrent motif of the recumbent, languorous male body, for example—can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this “underground” body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater.
Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick’s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves—just as the artists’ engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance.History of Art and Architecture
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Baker, Christina. "Salsa's moves and salsa's grooves in Mexico City". Diss., [La Jolla] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464670.
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Thesis (M.A.)--University of California, San Diego, 2009.Title from first page of PDF file (viewed July 2, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 112-118).
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Huh, Ravina (Eunhye). "Balance control in dance positions". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/23054.
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The purpose of this thesis is to develop and understand dance balance characteristics on various kinds of dance, related positions and shoe types which contribute to dance performance and to understand different balance controls in various groups. The first study was conducted to examine balance into ballet 2nd position between Ballet shoes and Pointe shoes. Eight dancers performed five different conditions in ballet 2nd position (Ballet Flat, Ballet Demi, Pointe Flat, Pointe Demi, and Pointe Toe) and Centre of Pressure (COP) was used to assess balance. The second study was testing balance control and response to perturbations whilst standing on double leg stance dance positions using a moving platform. Four dance positions were performed by eight subjects (Normal Flat, Turnout Flat, Normal Demi and Turnout Demi) and the platform was moved in two different directions (Forward and Backward) at two different speeds (slow and fast). Kinetics, Kinematics and EMG data was taken from this study. The third study was taken to compare balance control and response to perturbations in single leg standing dance positions between eight dancers and eight gymnasts. The subjects performed static single leg balance in Normal Flat, Turnout Flat, Normal Demi and Turnout Demi. Also, perturbed stance trials were collected in anterior, posterior, right and left directions for two dance positions (Normal Flat and Turnout Flat) at two different speeds (slow and fast) on the moving platform. The results from the studies indicate that dancers move in Medial - Lateral direction more than in Anterior - Posterior direction on Demi-pointe and Toe standing by performing plantar flexion during ballet 2nd position. Demi-pointe position may cause longer delay of EMG latencies because CNS is probably sending information already to keep correcting balance on Demi-pointe. Dancers and Gymnasts have different balance controls due to their ways of training in their performance. Dancers generally reacted faster with slow perturbation in Turnout stance than Gymnasts because this is the particular condition which Dancers are training in.
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Pietrobruno, Sheenagh. "Salsa and its transnational moves : the commodification of latin dance in Montreal". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38417.
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In Montreal, salsa dancing is both an expression of Latin identity and a cultural commodity. Many Montrealers of Latin descent adopt salsa dance as part of their cultural heritage only after arriving in Canada, connecting, through salsa, to a transnational Latin identity that crosses the Americas. This situation illustrates how cultural affiliations are not necessarily fixed, but can be acquired in response to changing circumstances. Since salsa is not indigenous to the city, residents of Montreal can only access it through cultural institutions and community media outlets. This commodification influences the manner in which salsa expresses Latin identity in the city. At the same time that salsa dancing proclaims Latin identity for certain individuals in the city, the practice thrives in a multicultural context: the Montreal salsa scene comprises diverse individuals who promote, teach, and dance salsa. This dissertation addresses points of division and cooperation among diverse cultures, ethnicities, races, and both sexes, as they are played out in aspects of salsa dancing in the city. The unfolding of these relationships is influenced by both the commodification of salsa dancing and its link to Latin culture. This analysis seeks to provide a theoretical account of the tension between salsa's expression of identity and its status as a commodified cultural practice. This perspective integrates various approaches to the study of dance and culture stemming from anthropology, sociology and cultural studies. Analyzing the Montreal salsa scene, I draw from in-depth interviews with individuals involved in the promotion of Latin dance and music, as well as participant observations in salsa dance classes, clubs and events. The methodology of this research combines ethnography with various areas of concern: the history of salsa, Latin immigration patterns in Montreal, theories of multiculturalism, transnationalism and diaspora, the Latin influence in ballroom dance, Europe
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Douse, Louise Emma. "Moving experience : an investigation of embodied knowledge and technology for reading flow in improvisation". Thesis, University of Bedfordshire, 2013. http://hdl.handle.net/10547/346585.
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The thesis is concerned with the exploration of the notion of ‘flow’ from both a psychological and dance analysis perspective in order to extend the meaning of flow and move beyond a partiality of understanding. The main aim of the thesis recognises the need to understand, identify and interpret an analysis of the moments of flow perceivable in a dancer’s body during improvisatory practice, through technologically innovative means. The research is undertaken via both philosophical and practical enquiry. It addresses phenomenology in order to resolve the mind/body debate and is applied to research in flow in psychology by Mihalyi Csikszentmihalyi, and flow in movement analysis by Rudolf Laban and Warren Lamb. The significance of this endeavour can be seen in the reconsideration of the relation between mind and body, and art and science which informs the methodology for the research (Part One). The three main outcomes of the research are related to each of the three subsequent parts. The first research outcome is the articulation of a transdisciplinary approach to understanding flow and was developed by expanding on the current definitions of flow through an innovative transdisciplinary methodology (Part Two). Research outcome two addresses the intersubjective nature of flow, which was identified within improvisation. From this two methods were constructed for the collection and interpretation of the experience of the dancer. Firstly, through reflective practice as defined by Donald Schön. And secondly, an argument was provided for the use of motion capture as an embodied tool which extends the dancers embodied cognitive capabilities in the moment of improvisation (Part Three). The final research outcome was thus theorised that such embodied empathic intersubjectivity does not require a direct identification of the other’s body but could be achieved through technologically mediated objects in the world (Part Four). Subsequently, the findings from the research could support further research within a number of fields including dance education, dance practice and dance therapy, psychology, neuroscience, gaming and interactive arts.
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Kaschock, Kirsten. "Moving through the Unsayable: Applying Julia Kristeva's Semiotic and Abject to Choreographic Analysis". Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/235678.
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DancePh.D.
This dissertation explores literary-theoretical constructions arising from the consideration of certain non-narrative linguistic strategies and applies them to dance analysis. My intent is not only to provide new, functional tools for dance scholars and writers, but also to alter the theoretical terms themselves: by employing literary critical language beyond its original purpose, I hope to locate the limits of that language as it applies to dance. Moreover, I strive to identify the ways moving bodies complicate concepts normally applied to static and disembodied text. In this way my research moves in two directions: adding a specific theoretical lens to the dance-writing toolbox, and, in turn, using dance to sharpen and focus that lens. I have chosen two theoretical constructs--Julia Kristeva's explication of the semiotic aspect of language and her characterization of the abject--because of the ways they address the unsayable through body, repetition, and rhythm. Kristeva's texts, Desire in Language (1981) and Powers of Horror (1982), provide the dissertation's primary theoretical frameworks. The first text puts forth key concepts about heterogeneous meaning within her conceptualization of the semiotic; the second addresses meaning that exceeds language, and the self, and arises out of the abject (a crisis of the subject when confronted with a breakdown of boundaries between self and other). Both concepts are relevant to dance, emerging from the materiality/substance of language rather than from language as a phantom structure that ideas are placed into. This dissertation grapples with how dance strives to express that which exceeds "paraphrasable" meaning from three vantage points: 1) the assessment of the critical reception of historic choreography (Paul Taylor's Big Bertha) that plays simple narrative against the horror of the unknown; 2) an examination of participants' communications during the choreographic process of innovative choreographer, Gabrielle Lamb, and how research material was transformed during that process; 3) the documentation of my own struggle to express the unsayable during the creation of a hybrid dance/textual piece. These perspectives require different analytic strategies: 1) the casting of an artwork's meaning in historical and cultural contexts, 2) the parsing of the language used to communicate meaning between participants during the creative process, 3) the self-chronicling and reflective analysis of meaning-making during the conception and execution of a hybrid work. My objective is to show how Kristeva's theoretical constructs play out in different types of dance analysis and how the lack of a certain strain of theoretical language in dance discourse has left a hole where discussion might profitably ensue. I seek to use Kristeva's texts and post/modern techniques of the body to offer a multi-layered and technically invested understanding of dance rather than an aphoristic and imagistic one: one that substitutes multiple, specific bodies and their actions for a single idealized institution of the beautiful.
Temple University--Theses
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Nepomuceno, Kara Elena. "Moving Honestly - pangalay performance, national identity, and practice-as-research". Oberlin College Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1596226975559043.
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Mills, Dana N. "Moving beyond boundaries : an exploration into the relationship between politics and dance". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9a7c8578-b13c-4036-813c-867a53dc2e77.
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This thesis looks into the relationship between dance and politics. It argues that dance is both a method of intervening in other symbolic languages and a system of inscription that is intertwined in that moment of intervention. Dance as a political language has a subversive potential; it can challenge verbal political statements. In the thesis I work with and against Jacques Rancière’s interpretation of politics as re-distribution of the sensible and with Aletta Norval’s reading of Rancière’s conception of democracy as egalitarian inscription which I expand and read as egalitarian embodied inscription. I show that Rancière’s focus on politics as rupture disables the recognition inscription as continuity. I show that dance enables a reading of politics as both rupture and continuity, an intervention that leaves traces that endure after it ends. Through a genealogy of the concept of the Dionysian I show that philosophers and dance practitioners alike have read dance as both subversive and affirmative, an intervention and a system of inscription that acts independently of spoken discourse. I show that Isadora Duncan created the first political moment in modern dance as a re-distribution of the sensible; at the same time although she created egalitarian embodied inscription she did not leave a codified system of movement, and did not contradict her politics in spoken language. I show that Martha Graham created the second moment of re-distribution of the sensible in which she created a codified movement language that subverted politics in spoken words. Finally, I revisit Rancière’s work and bind his discussion of human rights with the problematic of the tension between rupture and continuity. I re-read both these arguments with my interpretation of dance as political and argue that it yields a reading of dance as enabling the creation of human rights claims. Dance is both subversive and affirmative.
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Bizas, Eleni. "Moving through dance between New York and Dakar : ways of learning Senegalese 'Sabar' and the politics of participation". Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1835.
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This thesis explores a network of participants, dance students and teachers, who travel between New York City and Dakar, Senegal, around the practice of West African dance forms. Focusing on the Senegalese dance-rhythms Sabar, I joined this movement and my fieldwork methodology included apprenticeship as a student. I explored different learning environments of Sabar in New York and Dakar: the understandings involved, how this movement is maintained and how it affects dance forms. The methodological move enabled a comparative approach to research questions of learning and performing, local aesthetics and notions of being. This thesis discusses the role of the imagination in mobilizing students and teachers to travel within this network. I explore how participants navigate through the political geography of this movement, sustain the network, and how in turn the cultural flow of Sabar is ‘punctuated’ by socio-economic relationships. Secondly, I explore the understandings involved in each learning context, how these are negotiated and contested on the dance floor and how they relate to broader socio-cultural discourses and relationships that they reinforce or subvert. I argue that while different Sabar settings cannot be understood as ‘bounded’ in as much as people and ideas circulate through them, they are also distinct in that they produce different forms of Sabar. The learning contexts provide the meeting grounds for alternative conceptions of ‘dance’ and pedagogy. I explore how these notions are negotiated in relation to the specific socio-cultural and economic environments in which they are located. Specifically I analyse some common problems New York students face in learning and performing Sabar and explore the reasons behind them: the complex connection between movement and rhythm and the achievement of a specific kinaesthetic in movement. I delineate the relationship between movement and rhythm in Sabar and the importance of the aesthetic of improvisation. I argue that the prevalence of certain paradigms of learning and ‘dance’ over others is related to the specific socio-economic relationships of the participants. Specifically, an over-emphasis on movement distracts from other important aspects in the performance of Sabar and I argue that skills need to be understood as environed processes, malleable and shifting in relation to the broader socio-economic settings that link the participants together.
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Anderson, Jacquilyn D. "Moving to the Beat of Djembe Drums: African Dance and Reported Feelings of Depression". Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/46.
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Depression is a disabling mental disorder that has huge impacts on one’s life and is therefore considered a global health concern. Efforts to find the most effective treatments have led to the development of antidepressants and cognitive therapy treatments. However, exercise as a form of treatment for depression has been growing in popularity. Recently, Dance Movement Therapy has gained exposure as a possible form of exercise treatment. Therefore, in the current study, West African dance was studied in order to determine its effects on depression. It was hypothesized that West African dance would target and alleviate symptoms of depression as outlined on the Beck Depression Inventory. Participants were already enrolled in the dance class and the Beck Depression Inventory was administered to the participants. Results indicated that West African dance had a significant positive impact on depression by lowering overall depression scores and psychological depression scores. This study contributes to current literature by offering a unique form of dance with rhythmic drum beats that has not been studied before. Future research should be aimed at further establishing the efficacy of West African dance and the long-term effects it has on depression.
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Wiener, Maria. "Integration of live choreography with projections of 3D moving images : juxtaposition of live performers in contemporary dance with projected digital video and 3D animated dance". Thesis, University of Southampton, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.433953.
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Satkunaratnam, Ahalya. "Moving bodies, navigating conflict practicing Bharata Natyam in Colombo, Sri Lanka /". Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=102&did=1874197641&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270484064&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Includes bibliographical references (leaves 199-212). Issued in print and online. Available via ProQuest Digital Dissertations.
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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.
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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.
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McIntosh, Jonathan Andrew. "Moving through tradition : children's practice and performance of dance, music and song in south-central Bali". Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485056.
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This thesis is an ethnography of children's practice and performance of dance, music and song in the village of Keramas, Gianyar, South-central Bali. Focusing upon power relationships between adults and children and between children themselves in the setting of a Balinese dance studio (sanggar tan), I examine how adults exercise power over children and teenagers in the context of traditional Balinese dance. Furthermore, I investigate the ways in which children incorporate contemporary influences into their songs, games and disco dance performances, thereby exercising agreater degree of power over their own activities. While dance is central to Bali-Hindu religious practice, it is also a medium used to communicate . important aspects of what it means to be Balinese to children. Looking at children's participation in dance activities, I explore how children relate to the world that surrounds them. By moving through tradition children not only perpetuate Balinese traditional dance, 'but also actively engage with global influences. The thesis is divided into six chapters which chronologically follow the journey of children's dance and music . ac. tivities, from lullabies .. through traditional dance to disco dance performances. Although children's songs and lore have received previous attention from scholars, research focusing upon music and dance activities of children still remains on the periphery of ethnomusicological enquiry. By examining children's songs and their learning, practice and performance of traditional and popular dance, I sh~w how dance, music and song are integral elements in the lives of young Balinese. This ethnographic account seeks to provide an insight into research pertaining to Bali as well as to form the foundation for future studies regarding children and the role of music and dance in their everyday lives.
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Fermor, Sharon Elizabeth. "Studies in the Depiction of the Moving Figure in Italian Renaissance Art, Art Criticism and Dance Theory". Thesis, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492194.
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Funke-Jordansson, Maria. "Dans i gymnasiesärskolan : -Fem lärares tankar kring ämnet dans". Thesis, Karlstad University, Faculty of Arts and Education, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-2317.
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Abstract
This study examines the use of dance in the special education classes in high school. The purpose is to study the teachers’ thoughts about dance within this school form. I want to see if they see any gains from having dance as a subject, and what might these be? Earlier research states that dance has a positive influence on mentally handicapped children and young people, and that it strengthens their general development. There is little research literature available, but there is an agreement that dance gives these young people a stronger self-esteem, a sense of belonging to a group, and the possibility of non-verbal communication. I have, in this study, interviewed five teachers of these special education classes. The resultants show that these teachers are positive to having dance on the schedule for these students. The gains that they mention are: an increased awareness of their own bodies, an increased self-esteem, movement, cultural understanding, a greater awareness of room and space, a sense of community, and another means of expressing themselves and communicating. In addition, they also describe dance as something that is fun.
Key words: Dance, dance in school, senior high school for children in special needs, moves
Sammanfattning
Denna studie handlar om dans i gymnasiesärskolan. Syftet är att studera lärares tankar om ämnet dans inom gymnasiesärskolan. Jag ville också se om lärarna ansåg att det fanns några vinster med att ha dans som ämne i gymnasiesärskolan och i så fall vilka. Tidigare forskning säger att dans har positiv inverkan på handikappade barn och ungdom då det stärker den allsidiga utvecklingen. Det har varit svårt att finna litteratur som berör dans i gymnasiesärskolan men i all litteratur som beskriver dans, så är samtliga överens om att dansen ger ungdomar en stärkt självkänsla, en grupptillhörighet och en möjlighet till en icke verbal kommunikation. Jag har i min studie intervjuat fem lärare på gymnasiesärskolan och resultatet visar att just denna intervjugrupp är positivt inställda till att dans ska finnas på schemat för elever på gymnasiesärskolan. Vinster som nämns är kroppskännedom, stärkt självkänsla, rörelse, kulturell förståelse, socialt samspel, rumsuppfattning, gemenskap och ett språk för att uttrycka sig och kommunicera. Dessutom beskriver alla dans som något roligt.
Nyckelord: Dans, dans i skolan, gymnasiesärskola, rörelse
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Heidelberger, Aurore. "De la mesure à la démesure vers le dionysiaque : une étude de l'excès dans l'oeuvre du chorégraphe et cinéaste flamand Wim Vandekeybus : sous l'angle de l'intermédialité et de l'importance grandissante de la visualité". Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00922987.
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Wim Vandekeybus est l'un des chorégraphes majeurs de la nouvelle danse belge. Nous proposons à travers cette étude d'analyser son Œuvre sous l'angle de la démesure. Nous nous sommes attachés à un corpus limité d'œuvres appartenant à son travail chorégraphique et cinématographique. La fougue chorégraphique de ses débuts transparaît-elle toujours dans ses pièces les plus récentes comme Blush ou Sonic Boom, où la place de la narration est réévaluée ? Tout d'abord, nous nous sommes focalisés sur la violence du propos chorégraphique. Une temporalité de l'urgence ordonne les actions des interprètes. Les rapports humains sont eux-aussi emprunts d'une certaine tension, notamment les rapports hommes/femmes. Puis, nous nous sommes penchés sur les obsessions du chorégraphe, à la recherche d'un corps au comportement instinctif. La mise en scène d'un corps exacerbé, poussé jusque dans ses retranchements prédomine. Outre une recherche chorégraphique, Wim Vandekeybus s'intéresse à la création d'une image scénique, obtenue par les éclairages ou l'intrusion d'un écran de projection cinématographique. Au contact du médium audiovisuel le corps se déchaine et atteint un état dionysiaque. Le corps filmé dans Blush détient la même force, la même énergie excessive, qui caractérise sa scène. Enfin, la réintroduction du verbe, par les diverses collaborations avec des auteurs contemporains, comme Peter Verhelst, P. F. Thomèse ou Jan Decorte exacerbe les passions et ne conduit point à un assagissement du corps, ni même du propos chorégraphique.
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Wishkoski, Rachel C. "“To Become Something New Yet Familiar:” Remembering, Moving, and Re-membering in Seattle Buddhist Church’s Bon Odori Festival". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397736266.
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Maçaneiro, Scheila Mara 1963. "De como cadeiras se movem : escrevendo meu movimento, movimentando minha escrita, uma experiência a/r/tográfica em dança". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/254155.
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Orientador: Márcia Maria Strazzacappa HernandezTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Foi movendo cadeiras que trabalhei nessa investigação em Dança. Por meio da metodologia de Pesquisa Educacional Baseada em Arte encontrei na prática pedagógica A/r/tografia um entrelugar educacional que proporciona aos artistas/pesquisadores/professores existirem em contigüidade, num híbrido despertar da mestiçagem texto-corpo. Proposta por professores pesquisadores da Universidade da Columbia Britânica em Vancouver, no Canadá, a A/r/tografia é uma linguagem de fronteiras, um terreno fértil para investigações e vivências artísticas que pelo referencial metafórico do rizoma, proposto por Deleuze e Guattari, são entremeadas pela pesquisa e pelo ensino. A necessidade de auto questionamento instiga a/r/tógrafos a uma prática viva de pesquisa, estimulando relacionamentos que se constituem por comunidades de indivíduos compromissados com um modo de ser/estar no mundo. Pela possibilidade de um estado de entrelaçamento teoria-prática de maneira reflexiva, responsiva e relacional, a A/r/tografia provocou-me um lugar próprio dentro da pesquisa que reverberou por meio da proposição de meus modos de organização (renderings) para as práticas de ensino e supervisão de estágios da Licenciatura em Dança da Faculdade de Artes do Paraná (FAP). Um ambiente de redescobertas permeadas por negociações, em que ensinar dança se constitui como conhecimento, quando imbricado por investigações e construções artísticas.
Abstract: It was by moving chairs that I worked on this research in Dance. Through the methodology of Arts-Based Educational Research, I found in the pedagogical practice A/r/tography, an in-between place in education which enables artists/researchers/teachers to exist in contiguity, a hybrid awakening of a text-body métissage. Proposed by Rita Irwin, along with research professors at the University of British Columbia in Vancouver, Canada, A/r/tography is a boundaries language, a fertile ground for research and artistic experiences, which in reference to the rhizome metaphor, proposed by Deleuze and Guattari, are interwoven through research and teaching. The need for self-questioning instigates A/r/tographers a living inquiry practice research, fostering relationships that constitute a community of individuals committed to a way of being/living in the world. Because of the possibility of a state of entanglement theory-practice in such a reflective, responsive and relational manner, A/r/tography offered a proper place within the research that reverberated through the proposition of my modes of organization (renderings) for teaching practices and supervision of internships in the undergraduate program in Dance at the Faculty of Arts of Parana (FAP). A rediscovered environment permeated by negotiations, in which teaching dance constitutes as knowledge when nested for investigations and artistic development.
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutora em Educação
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Silveira, Danilo. "Entre o orto e o ocaso: o mover insistente como estratégia de sobrevivência na criação em dança". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-17112017-105454/.
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A presente Dissertação se constrói em decorrência de uma investigação sobre como pode se dar o ato da \"insistência\" na criação em dança. Para tanto, a discussão sobre insistência se desenvolve objetivando olhar para o processo criativo do espetáculo de dança Corpo Desconhecido da bailarina e coreógrafa Cinthia Kunifas. Entre ensaios e apresentações, o espetáculo aqui em questão durou doze anos, e neste tempo contínuo e não urgente, Kunifas insistentemente permaneceu em um mesmo modo de estar e viver a cena a partir de uma questão de origem. Portanto, para desenvolver um argumento sobre a \"insistência\" na criação em dança, o texto se apoia nas referências teóricas de Jorge de Albuquerque Vieira (2000 e 2006) e Adriana Bitencourt Machado (2001 e 2005), que estudam o conceito de \"permanência\" da Teoria Geral dos Sistemas. Outra referência trazida para argumentação é o entendimento sobre o processo de criação abordado por Cecília Almeida Salles (2006 e 2011). Por fim, o discurso deste texto se apoia em tais referências almejando pensar a \"insistência\" como uma estratégia de sobrevivência e como um estado de existência contínua que pode levar o artista ao aprofundamento de sua questão original sem ter pressa para que isto aconteça.This dissertation is constructed as a result of an investigation about how the act of \"insistence\" in creation in dance can be made. For that, the discussion about insistence is developed aiming at the creative process of the dance spetacle Corpo Desconhecido, interpreted by the dancer and choreographer Cinthia Kunifas. Between rehearsals and presentations, the spetacle focused here lasted for twelve years, and in this continuous and non-urgent time, Kunifas insistently remained in a same way of being and living the scene from an original matter. Therefore, to develop an argument about \"insistence\" in creation in dance, the text is based on Jorge de Albuquerque Vieira\'s (2000 and 2006) and Adriana Bitencourt Machado\'s (2001 and 2005) theoretical contributions, authors who study the concept of \"permanence\" from the General Theory of Systems. Another reference brought to the argumentation is the understanding about the creation process approached by Cecília Almeida Salles (2006 and 2011). Finally, the discourse of this text is based on such references aiming to think \"insistence\" as a survival strategy and as a state of continuous existence that can lead the artist to deepen his original question without being in a hurry to make something happen.
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Pinto, Maria Teresa Fabiao da Silva. "Criação em dança movida por trânsitos culturais nos entrelugares Bahia-Portugal". Escola de Teatro, 2016. http://repositorio.ufba.br/ri/handle/ri/27497.
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Os encontros interculturais não são uma realidade recente, porém intensificaram-se na história pós-colonial, com os deslocamentos e as migrações, lançando novos desafios para o ser humano. Diferenças sociais e culturais muito grandes são colocadas em contato de modo abrupto e expostas ao convívio tensionado. Movida por minha própria história como portuguesa no trânsito Brasil-Portugal, investigo a criação em dança motivada por trânsitos e deslocamentos (de sujeitos, ideias, informações, imagens, objetos, etc), através de um processo criativo solo que teve como ponto de partida a relação construída com o ambiente cultural de Salvador (Bahia), e de outros experimentos criativos desenvolvidos com criadores e público em geral, nos dois lados do oceano. Este estudo reafirma uma visão de dança como movimento-pensamento-abordagem de mundo, e dialoga com uma perspectiva multidimensional de entrelugar, caraterizando-o como um estado intervalar, relacional, como espaço/ experiência da diferença, como condição híbrida, ou exotópica (BAKHTIN, 2003), e como campo possível de mobilização de identidades/ alteridades. A partir da abordagem metodológica da Prática como Pesquisa (BARRETT&BOLT, 2007; CANDY, 2006), discute de que forma experiências de entrelugar-vividas em primeira pessoa ou provocadas no(s) outro(s)- interferem nas criações, imagens recíprocas e relações culturais entre Brasil e Portugal, países que no passado mantiveram elos baseados no colonialismo. O argumento aqui defendido é que processos de criação interessados em trânsitos culturais possuem o potencial para acessar e convocar diferentes entrelugares, e, por consequência, mobilizar identidades e alteridades. Numa dimensão mais ampla esta investigação vem argumentar que os processos criativos em dança no contexto de experiências interculturais imersivas têm grande potencial de modificar a relação dos sujeitos criadores consigo mesmos, com o outro e com o mundo ao redor, sugerindo assim um entrelaçamento entre processos criativos/ processos interculturais/ processos interpessoais. O estudo destas dinâmicas sublinha o papel da dança como prática de transformação social, como uma chave importante nas novas formas de convivência que estamos tendo que descobrir atualmente.
Intercultural exchanges are not a recent phenomenon but have been intensified in the post-colonial times, with displacements and migrations, launching new challenges for human beings. Large social and cultural differences are put into contact and exposed to strained coexistence. Driven by my own history as a Portuguese in traffic Brazil-Portugal, I investigate the creation in dance driven by exchanges and displacements (of subjects, ideas, information, images, objects, etc.), through a creative solo process that took as its starting point the relationship built with the cultural environment in Salvador (Bahia), and other creative experiments conducted with performers and the general public, on both sides of the ocean. This study reaffirms a vision of dance as movement-thought-world approach and dialogues with a multidimensional perspective of the in-between space, featuring it as an interval, relational state, as space/ experience the difference, as a hybrid or exotopic (BAKHTIN, 2003) condition, and as a possible field of mobilization of identities/ alterities. Based on methodological approach of Practice as Research (PaR) (BARRETT&BOLT, 2007; CANDY, 2006), it discusses how in-between experiences-lived in first person or caused in other(s) - interfere with creations, reciprocal images and cultural relations between Brazil and Portugal, countries which have maintained links based on colonialism in the past. The argument put forward is that creative processes interested in cultural exchanges have the potential to access and call different in-betweenesses, and therefore mobilize identities and alterities. On a wider scale, this research has argued that the creative processes in dance, in the context of immersive intercultural experiences, have great potencial to change the relationship of artists with themselves, with each other and with the world around, thus suggesting an interweaving of creative/ intercultural/ interpersonal processes. The study of these dynamics highlights the role of dance as a practice of social transformation, as an important key in the new forms of coexistence that we need to discover nowadays.
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Park, Hannah. "MOVING TOWARD "WE ARE!": ENHANCING CULTURALLY RELEVANT CREATIVE MOVEMENT PEDAGOGY FOR URBAN CHILDREN BY EXPLORING PERCEPTIONS OF SELF AND OTHER". Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/145139.
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DancePh.D.
This study explored best practices for teaching creative movement to twenty-four urban second graders by examining their perceptions of self and others. Creative movement education programs rarely focus on the exploration of self and group identity through the lens of diversity. More importantly, few studies have examined how to implement creative movement programs through pedagogies best suited to urban children. Over 12 weeks of practice, observation, and reflection, extensive data were collected regarding the children's interactions and creative processes. The curriculum focused on individual and group identities and examined the experiences of the children with the aim of developing pedagogical methods that best suited their urban cultural backgrounds. The study sought to answer the following research questions: 1) What are the children's perceptions of themselves and others throughout the creative movement learning process? ; and 2) How can teachers use this knowledge to devise creative dance pedagogy for urban children and create holistic curricula that develop these perceptions? During bi-weekly dance sessions, the students and teachers explored the concepts of "self" and "group" by moving, discussing, sharing different dance styles and images, using props and being actively involved in creative movement and expression. The project culminated in a school performance, in which the children presented dances that they had developed that represented the content explored in the sessions. The data collected included video recordings of the children's actions and comments, reflective drawings and texts that the children created, and observational notes recorded by an assistant teacher and the children's homeroom teacher. The video recordings of each session were transcribed and analyzed. The children's drawings and written texts, and the teacher's observational and reflective journals, were also reviewed. All data collection involved in the study was approved by the Institutional Review Board (IRB) for human subject protocol. A qualitative research approach guided the analysis, with a focus on Action Research and ideas drawn from the philosophical doctrines of Phenomenology and Phenomenography. The recorded video sessions and resulting transcriptions were used to create narrative descriptions that shed light on the children's experiences and uncovered specific elements that were of use in the development and refinement of creative movement teaching practices. Despite presenting occasional challenges as a group, the children spontaneously improvised and developed movements that expressed their preferences. They used the class as a creative outlet-aesthetically, physically and, at times, emotionally. The children danced to express their individual and group cultures as well as their movement preferences, their personal traits, and their perceptions of others. The pedagogical approach to the class promoted identity and diversity in the teaching and learning environment, providing teachers with insight into best practices for teaching urban populations. The study's Action Research methodology involved a reflective cycle of planning, action, and result. It investigated students' perceptions of themselves and others through their responses to creative movement education, and studied how these perceptions impacted creative movement facilitation. It discovered best practices that take into account students' unique cultures and learning styles. These practices can be used as a foundation for facilitators of creative movement classes involving urban children, enabling the development of curricula that explore experience, promote cultural expression, and foster diversity in learning. They also offer disciplinary strategies that cater to the environmental standards and unique needs of urban students.
Temple University--Theses
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Motta, Mauricio Moraes. "Mover/se(r) a g?nese do corpo entre/corpos e seus trajetos no processo coreogr?fico". Universidade Federal do Rio Grande do Norte, 2014. http://repositorio.ufrn.br:8080/jspui/handle/123456789/12469.
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Previous issue date: 2014-03-21This paper proposes a reflection on the body between/bodies, especially in contemporary dance, in their path that starts from the choreographic construction, permeating the body of the choreographer, the dancer s body and when fulfills themselves as artistic expression, the body of the spectator. Initially discusses the body in dance as a body/space for convergence, connectedness and continuity, from the thought of the Greek philosopher Epicurus of Samos, in dialogue with the thought of Maurice Merleau-Ponty, Gilles Deleuze and Jos? Gil. Reflect about the creation of this body/space in the relationship choreographer/dancer using as connecting thread the experiences of the author in his artistic path. Finally describes the process of creating the scenic experiment (h)?poros, which constitutes the practice scene of this dissertation, having as main objective the creation of spaces of convergence and interaction between a proponent and an affluent body that, in this move, transforms itself and the space that now cohabits / is
Esta disserta??o prop?e uma reflex?o a respeito do corpo entre/corpos, em especial na dan?a contempor?nea, neste seu trajeto que tem inicio na constru??o coreogr?fica, perpassando o corpo do core?grafo, o corpo do bailarino e, ao realizar-se como manifesta??o art?stica, o corpo do espectador. Inicialmente discute o corpo na dan?a como corpo/espa?o de converg?ncia, conexidade e continuidade, a partir do pensamento do fil?sofo grego Epicuro de Samos, em di?logo com o pensamento de Maurice Merleau-Ponty, Gilles Deleuze e Jos? Gil. Reflete a cria??o deste corpo/espa?o na rela??o core?grafo/bailarino utilizando como fio condutor as experi?ncias do autor em seu trajeto art?stico. Por fim relata o processo de cria??o do experimento c?nico (h)?poros, que se configura como pr?tica da cena desta disserta??o, tendo como objetivo fundamental a cria??o de espa?os de converg?ncia e intera??o entre um corpo propositor e um corpo afluente que, neste mover-se, transforma a si e ao espa?o que agora coabita/constitui
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Pereslenyiová, Michaela. "Optimalizace daňové zátěže koncernu". Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2020. http://www.nusl.cz/ntk/nusl-417361.
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The aim of this diploma thesis is to optimize the concern in terms of taxes. Model situations should point to tax optimization by moving business to tax havens. Diploma thesis deals particularly different taxation of concern in tax havens. The result of the work will be a proposal and recommendations for the establishment of a company in a tax haven.
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Carvalho, Cleber de Sousa. "Tradições em movimento no Terno de Congo Verde e Preto". Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6679.
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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This dissertation shows reflections about the Festivity in Honor of Our Lady of the Rosary and Saint Benedict of Village João Vaz (Goiânia, GO) and the body movements of the congo’s dancers of Terno de Congo Verde e Preto focusing on processing procedures and permanence which are subject traditions and expressions of popular culture. The Rosary celebrations of black men are also known as Congada parties or Congado are produced from a conversion universe to Catholicism present in Brazil, since the colonial period with an ambiguous character who reconstructed and a new meant the sacred made its own and articulated with knowledge and concepts bounded to the ancestral notion of Bantu people. Onwards from a theoretical reference aligned by an interdisciplinary aproach the research purpose is to perceive how the congadeiros of Village João Vaz, especially the participants of congo’s dancers, they living the processes of transformation and permanence of their rituals and body movements (dancing, singing and drumming). To do this, initially, will be shown the structure of the Feast of the João Vaz, its relations with Congada Party of Catalan (GO), and main ceremonies, enabling the perception of the cycle of the Feaste, from the participation of Terno de Congo Verde e Preto. Then we will discuss about the contact’s points between the processes of urbanization and modernity and the ceremonies of the Feast of João Vaz that have presented to “congadeiros” the necessity of modifications and new meanings in their rituals, as the demands of urban life. So understand that, the same time that the life settings in the city point to the formation of an individualistic and apathetic subjectivit based on monetary values it was observed as the existence of manifestations of popular culture as the Congada between others present in regions considered marginalized comunities that they went occupied by people with limited financial resources who value sociability, solidarity coexistence affection and friendship. Finally, we will discuss about how the dancers of Terno de Congo Verde e Preto are living the changes and continuities in the configuration of body movements and rituals they perform, in view of the embodiment of knowledge that are manifested in dancing, singing and drumming, as basic features make up the african-Brazilian performances. The survey conducted the understanding of the interrelationships between the material sphere of existence and spiritual or symbolic sphere that operated in the manifestations of popular culture. This being one of the aspects that allow the observation of their movements and transformations and the realization that the knowledge of Congada that are sedimented in Congadeiro(congo dancer) body in built-in memory, the formation of a habitus, which manifests in festive ceremonies and celebration rituals.
Esta dissertação apresenta reflexões sobre a Festa em Louvor a Nossa Senhora do Rosário e São Benedito da Vila João Vaz (Goiânia, GO) e os movimentos corporais dos dançadores do Terno de Congo Verde e Preto, tendo como foco os processos de transformação e permanência, os quais estão sujeitas as tradições e manifestações da cultura popular. As festas do rosário dos homens pretos, também conhecidas como Festas de Congada, ou Congado, são produzidas a partir de um universo de conversão ao catolicismo, presentes no Brasil, desde o período colonial possuindo um caráter polissêmico, que reconstituiu e ressignificou o sagrado feito de uma forma própria e articulada a saberes e concepções vinculadas à noção de ancestralidade dos povos Bantos. Partindo de um referencial teórico alinhado por um eixo interdisciplinar, o intuito da pesquisa é perceber como os congadeiros da Vila João Vaz, em especial os participantes do Terno de Congo Verde e Preto, vivenciam os processos de transformação e permanência de seus rituais e movimentos corporais(danças, cantos e batuques). Para tanto, inicialmente, será apresentada a estrutura da Festa da João Vaz, suas relações com a Festa de Congada de Catalão (GO) e principais cerimônias, possibilitando a percepção do ciclo da Festa, a partir da participação do Terno de Congo Verde e Preto. Em seguida, será discutido a respeito dos pontos de contato entre os processos de urbanização e da modernidade e as cerimônias da Festa da João Vaz que têm apresentado aos congadeiros a necessidade de modificações e ressignificações em seus rituais, conforme as exigências da vida urbana. Percebe-se que, ao mesmo tempo em que as configurações da vida na cidade apontam para a formação de uma subjetividade individualista e apática, fundamentada por valores monetários, observa-se, também, a existência de manifestações da cultura popular, como a Congada, entre outras, presentes em regiões consideradas marginalizadas, ocupadas por populações com poucos recursos financeiros, que valorizam a sociabilidade, a convivência solidária o afeto e a amizade. Finalmente, discutiremos sobre como os congadeiros do Terno de Congo Verde e Preto vivenciam as transformações e permanências na configuração dos movimentos corporais e rituais que realizam, tendo em vista a corporificação de saberes que são manifestados no dançar, cantar e batucar, como características básicas que compõem as performances afro-brasileiras. A pesquisa possibilitou o entendimento das inter-relações entre a esfera material da existência e a esfera espiritual ou simbólica que operam nas manifestações da cultura popular, sendo este um dos aspectos que permitem a observação de seus movimentos e transformações; bem como a percepção de que os saberes da Congada estão sedimentados no corpo do congadeiro, em uma memória incorporada, pela constituição de um habitus, que se manifesta nas cerimônias festivas e nos rituais de celebração.
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Rigo, Laís Cavalheiro. "SENTIDOS E SIGNIFICADOS PARA O SE-MOVIMENTAR NA DANÇA EM CADEIRA DE RODAS". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/6737.
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Fundação de Amparo a Pesquisa no Estado do Rio Grande do SulWe come upon critical about to dance and doing dance through techniques or "nontechnical" based in the repetition and copying movements, studies that warn us to the necessity of theoretical insights to legitimize dance and to dance as an expression and communication. Thinking about Wheelchair Dance (DCR) as a manifestation of increasing dance in search of spaces beyond the standardization of movements and gestures, we traced as the central objective of this study was to establish relationships between the Theory of "Self - Move Human" with the DCR teaching. To do this, we long constitute theorists deepening about the Dance that originated notes on aspects inherent the theme, as expressiveness, sensitivity, perception, body and creativity. From this we outline of intervention possibilities for DCR teaching. We understand that they ought not to study, research, write about Dance, one consisting phenomenon of imperceptible variables, by following a predefined method, based on certain assumptions. We commit to develop a theoretical research, a reflection on Dance, incited to argue and write about this phenomenon, enabling new syntheses go to meet the sense and meaning from our study, of our work. We find, in the dialogic relationship movement, possibilities for "doing dance" of expressive and communicative way, taking into account the senses and meanings intertwined in the movement of the subject danceable.
Deparamo-nos com as críticas acerca do dançar e do fazer dança por meio de técnicas ou não técnicas embasadas na repetição e cópia de movimentos, estudos que nos alertam à necessidade de aprofundamentos teóricos para legitimar a Dança e o dançar enquanto expressão e comunicação. Pensando na Dança em Cadeira de Rodas (DCR) enquanto uma manifestação de Dança crescente em busca de espaços para além da padronização de movimentos e gestos, traçamos como objetivo central deste estudo estabelecer relações entre a Teoria do Se-Movimentar Humano com o ensino da DCR. Para isso, ansiamos constituir aprofundamentos teóricos sobre a Dança que originaram apontamentos sobre aspectos inerentes ao tema, como expressividade, sensibilidade, percepção, corpo e criatividade. A partir disso, delineamos possibilidades de intervenção para o ensino da DCR. Compreendemos que não convém estudar, pesquisar, escrever sobre a Dança, um fenômeno constituído de variáveis imperceptíveis, seguindo um método predefinido, alicerçado em pressupostos determinados. Comprometemo-nos a desenvolver uma pesquisa teórica, uma reflexão sobre a Dança, incitados a argumentar e a escrever sobre esse fenômeno, possibilitando às novas sínteses ir ao encontro do sentido e do significado do nosso estudo, do nosso trabalho. Encontramos, na relação dialógica de movimento, possibilidades para um fazer dança de forma expressiva e comunicativa, levando-se em consideração os sentidos e os significados imbricados no movimento do sujeito dançante.
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Pinguet, Léo. "Esthétique des clichés : épistémologie, généalogie et usages cinématographiques aberrants d’un phénomène normatif". Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H301.
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Ce travail se propose de penser les conditions de possibilité d'une esthétique des clichés en s'appuyant principalement sur trois axes : un commentaire de Gilles Deleuze et son usage de la notion de cliché ; une enquête épistémologique et généalogique croisant les apports des études littéraires et de la philosophie au regard de l'esthétique ; une analyse des films américains de Joe Dante, Brian de Palma, David Lynch, John Carpenter et Paul Verhoeven. Les clichés sont généralement perçus, pensés et jugés de manière strictement dépréciative comme relevant d'un raté du discours ou de l’œuvre d’art qui renvoient à une aliénation et une an-esthésie. Dégager le paradigme d'hostilité qui prévaut à leur appréhension, autant que le modèle ordinaire de reconnaissance et de désignation du phénomène permettent, au contraire, d'entrevoir une aporie des clichés entre normativité et aberration. L'analyse du dispositif esthétique de certains films, qui problématisent le rapport des corps, du cerveau et des images, tout en manipulant les clichés sans pour autant être jugés comme tels, permet d'envisager une autre manière de sentir les clichés et d'autres types de clichésThis work examines the conditions of possibility of an aesthetic of clichés. The approach is mainly based on three directions: a commentary of Gilles Deleuze and his use of the notion cliché; an epistemological and genealogical investigation combining the contributions of literary studies and philosophy from an aesthetic point of view; an analysis of American films by Joe Dante, Brian de Palma, David Lynch, John Carpenter and Paul Verhoeven. Clichés are generally perceived, reflected and judged in a strictly depreciative way as a failure of the discourse or as failure for the works of art, a failure that refers to alienation and anesthesia. Identifying the paradigm of hostility that prevails in their apprehension, as much as the ordinary model of recognition and designation of the phenomenon allows, on the contrary, to glimpse an aporia of clichés between normativity and aberration. The analysis of the aesthetic device of certain films, which problematizes the relationship between bodies, brain and images while manipulating the clichés without being judged as such, allows to consider another way of feeling the clichés and other types of clichés
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Williamson, Raya. "A Movement for Authenticity: American Indian Representations in Film, 1990 to Present". Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1494330075140438.
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"Moving beyond Form: Communicating Identity through Dance". Master's thesis, 2010. http://hdl.handle.net/2286/R.I.8697.
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abstract: ABSTRACT Moving beyond Form: Communicating Identity through Dance chronicles the journey of investigating my personal creative process in dance. This was a search for strategies to empower myself creatively, enabling me to move beyond the limitations of a prescribed form or style of dance and communicate ideas that were relevant to me. But on a deeper level, it was an exploration of my capacity to self-define through movement. The challenge led me to graduate school, international study with world-renowned choreographers and to the development of a holistic creative practice, Movement to Meaning. The aim of this creative practice is to express internal awareness through movement, thereby enabling the mover to dance from an internal reference point. In my research, I utilized Movement to Meaning to re-contextualize Sandia, a traditional-based dance that is indigenous to various Mande subgroups in West Africa. This project culminated in a choreographic presentation, Ten For Every Thousand, which was performed in October 2010 at the Nelson Fine Arts Center at Arizona State University in Tempe, Arizona.Dissertation/Thesis
M.F.A. Dance 2010
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Lee, Hsin-I., i 李欣怡. "A Study on Disney Channel Original Movie of Series《High School Musical》： Songs, Dance and Social Function". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/p2tnmf.
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Sterbenz, Maeve Ann. "Moving with Music: Approaches to the Analysis of Movement-Music Interactions". Thesis, 2017. https://doi.org/10.7916/D80P1B9G.
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In this study I investigate the variegated and complex ways in which music and movement can interact in works that involve both media, such as ballets, modern dance works, music videos, and dance films. My dissertation centers around analyses of pieces in diverse styles and genres; each analysis focuses on different aspects of human movement or movement analysis tools. Some of these concepts – Effort, Space, Body, and Shape – are sourced from Laban Movement Analysis, while others – synchronization, body language, kinesthetic empathy, and form – do not belong to a cohesive system. Taking an intersubjective approach, my analyses highlight instances in which watching co-occurring movement affects my musical perceptions, or vice versa. I also examine conscious interventions on perception, where deliberate changes in perspective, theoretical frameworks, or prioritization of my embodied responses affect the way I hear and see the works. I aim not only to account for structural complexities in movement-music interactions, but also to examine ways in which those interactions participate in articulating identities and politics or in suggesting narrative interpretations. I aim to provide a versatile toolkit that would facilitate the analysis of many different kinds of music-movement interactions. Each chapter outlines two analytical tools and then demonstrates how the tools can be used in an analytical example.
In the first chapter, I investigate the role of body language and movement-music synchronization in a hip hop music video by the rapper Tyler, The Creator. I argue that Tyler’s movements fail to synchronize to the music in straightforward ways and fail to convey the cool confidence that his lyrics purport to. As a result, the movement-music relationship helps to articulate a version of masculinity that can be read as non-normative and politically charged.
In the second chapter, I examine the role of kinesthetic empathy in the perception of choreographic and musical form in the “Rose Adagio” from Tchaikovsky’s and Petipa’s The Sleeping Beauty. While both character and performer inhabit a single onstage body, the observer’s empathetic embodied responses to the dancer may diverge depending on whether she is read as character or performer. This perceptual contrast depends in part on the ballet’s narrative world. The two possible empathetic alignments yield, in turn, divergent analytical observations about the relationship between music and movement.
In the third chapter, I offer an analysis of “Duet” from Lar Lubovitch’s Concerto 622,which is set to the Adagio movement of Mozart’s Clarinet Concerto in A Major K.622. Examining Lubovitch’s choreography helps me to arrive at a more sensitive hearing of the music than I initially expected. Also, in comparing two phrases whose music is nearly identical but which feature different choreography, I find an especially compelling case in support of the proposition that dance affects musical perceptions.
In the final chapter, I consider the role of Body and Shape in Nijinsky’s and Debussy’s Jeux. Movement-music analysis provides support for an interpretation of the ballet that acknowledges a pervasive, yet ultimately unfulfilled sexual desire. Movement-music analysis also sheds light on the ever-changing and moment-focused nature of Debussy’s musical form. Motives are not developed nor organized by a large-scale formal design, but instead give rise to ever new musical ideas, unprepared and unresolved. The ballet’s choreography often helps these rapid and abrupt transitions to cohere.
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"Something about Self: Moving the Creative Flow Within". Master's thesis, 2012. http://hdl.handle.net/2286/R.I.14729.
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abstract: This thesis paper, Something about Self: Moving the Creative Flow Within, explores the progression of the author's abilities as a facilitator in a creative context through her project presentation SELF(ish): grow(tru)thOUGHT. Along with the subjective assessment of creative facilitation, the underpinnings of the author's creative process and artistic vision are exposed through relevant literature, significant inspirations, personal insight, process comparisons, and imaginative metaphors. The author/artist offers a unique perspective on personal interests collected over the course of her graduate studies. Waugh expounds upon pertinent content such as intuition in creativity, the emotional link to the mind-body connection, dance movement therapy and its effects on states of being, self-realization and self-transcendence. Each of these contextual elements contributed to the creation of exercises for movement generation used in a performative dance work. Ultimately, this paper elucidates a transparent, versatile creative practice and the evolution of a unique, passionate artistry that is based on a balance between structure and flow.Dissertation/Thesis
M.F.A. Dance 2012
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McLaren, Coralee. "Dancing-bodies-moving-Spaces: An Ethnography of Disabled and Non-disabled Children's Movement in a Kindergarten Classroom". Thesis, 2014. http://hdl.handle.net/1807/65705.
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Contemporary neuroscientific evidence indicates that unrestricted movement and gesture enhance children’s physical, social and cognitive development by engaging them with the external properties of their environments. Current understanding of children’s engagement with indoor environments is limited. This knowledge gap matters because children’s health, social abilities and cognitive development may be compromised in physical environments that inhibit rather than enhance their movement capacities. This gap is especially problematic for physically disabled children because their motor impairments, exclusionary societal attitudes, safety concerns and environmental barriers curtail their movement.
In this study, I describe and interpret the relationship between disabled and non-disabled children’s movement and a kindergarten classroom. Their bodies were conceptualized according to Deleuze’s premise that nothing can be known about bodies until they demonstrate what they can do (1988). The classroom was conceptualized according to Gibson’s theory of affordances, which posits that people and environments are inextricably related (1979). I used a choreographic perspective underpinned by Manning’s philosophy of relational movement (2009) to accentuate the dynamic reciprocity between children’s bodies and the classroom.
Eight disabled and 12 non-disabled children participated in this interdisciplinary, ethnographic study. Data were elicited through observations, video recordings and semi-structured interviews. I developed a taxonomy of indoor affordances or ‘compositional elements’ to categorize classroom objects/features that children discovered and actualized through their movement interactions. Subsequently, I observed a dance-in-the-making that led to deeper understandings of the relational and emergent properties of these interactions. Findings suggest that assemblages of bodies, objects and features trigger dynamic movement, and indicate that disabled and non-disabled children alike discover and creatively assemble affordances to facilitate their movement.
Overall, my findings recast children’s body-environment interactions and contribute to understandings about environmental features that enhance or inhibit movement capacities. This knowledge could be used to design i) learning environments that are redolent of movement possibilities, ii) interventions to enhance children’s physical, social and cognitive capacities, and iii) education and rehabilitation strategies that encourage them to explore, navigate and shape their environments.