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Howard, Suzanne, and 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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Sukel, Katherine E. "Representations for learning dance in a computational dance tutor." Thesis, Georgia Institute of Technology, 1999. http://hdl.handle.net/1853/29347.
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Potter, Caroline M. Parler. "Learning to Dance: Sensory Experience in British Contemporary Dance Training." Thesis, University of Oxford, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.487239.
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This thesis addresses the social process of bodily learning and the cultural shaping of sensory experience. It draws on literature from the anthropology ofdance, the anthropology ofthe body, and the anthropology of the senses in order to explore the socially constituted practices by which dancing bodies are created in present-day London. Based on heavily participatory fieldwork undertaken at a nationally recognized school for professional contemporary dance, it explores issues of social access, identity, bodily transfonnation, and institutionalized bodily control as they relate to the process of becoming a professional dancing body within the British context. A central theoretical premise underpinning this investigation is that the heretofore unresolved division between concepts of 'mind' and 'body' (and its related dyad of 'subject' and 'object') is not merely a philosophical construct but has its roots in actual bodily experience. As such ethnographic material is presented within a dualstrand framework that highlights varying experiences of body-as-object and body-assubject among British contemporary dance students.
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Rowe, Andrew D. "Exploring the dance of team learning." Thesis, University of Essex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327121.
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Caudill, Matthew A. "Learning to dance while becoming a dancer identity construction as a performing art /." [Tampa, Fla.] : University of South Florida, 2005. http://purl.fcla.edu/fcla/etd/SFE0001024.
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Riviere, Jean-Philippe. "Capturing traces of the dance learning process." Electronic Thesis or Diss., université Paris-Saclay, 2020. http://www.theses.fr/2020UPASG054.
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Cette thèse porte sur la conception d’outils interactifs pour comprendre et faciliter l’apprentissage de la danse à partir de vidéos. Les processus d’apprentissage des danseurs représentent une source d’informations riches pour les chercheurs qui s’intéressent à la conception de systèmes soutenant l’apprentissage moteur. En effet, les danseurs experts réutilisent un large éventail de compétences qu’ils ont appris. Cependant, ces compétences sont en partie le résultat de connaissances implicites et incarnées,qui sont difficilement exprimables et verbalisables par un individu.Dans cette thèse, je soutiens que nous pouvons capturer et sauvegarder une trace des connaissances implicites des danseurs et les utiliser pour concevoir des outils interactifs qui soutiennent l’apprentissage de la danse. Mon approche consiste à étudier différentes sessions d’apprentissage de danse dans des contextes réels, aussi bien individuels que collaboratifs.Sur la base des résultats apportés par ces études, je contribue à une meilleure compréhension des processus implicites qui sous-tendent l’apprentissage de la danse dans des contextes individuels et collectifs. Je présente plusieurs stratégies d’apprentissage utilisées par des danseurs et j’affirme que l’on peut documenter ces stratégies en sauvegardant une trace de l’apprentissage. Je discute de l’opportunité que représente la capture de ces connaissances incarnées et j’apporte de nouvelles perspectives pour la conception d’outils d’aide à l’apprentissage du mouvement par la vidéo<br>This thesis focuses on designing interactive tools to understand and support dance learning from videos. Dancers' learning practice represents a rich source of information for researchers interested in designing systems that support motor learning. Indeed, dancers embody a wide range of skills that they reuse during new dance sequences learning. However, these skills are in part the result of embodied implicit knowledge. In this thesis, I argue that we can capture and save traces of dancers' embodied knowledge and use them to design interactive tools that support dance learning. My approach is to study real-life dance learning tasks in individual and collaborative settings. Based on the findings from all the studies, I discuss the challenge of capturing embodied knowledge to support dancers’ learning practice. My thesis highlights that although dancers’ learning processes are diverse, similar strategies emerge to structure their learning process. Finally, I bring and discuss new perspectives to the design of movement-based learning tools
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Regan, Jeanette. "The dance of learning on encounters in adult second-language learning." Bern Berlin Bruxelles Frankfurt, M. New York, NY Oxford Wien Lang, 2008. http://d-nb.info/996091572/04.
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Boeh, Sarah Marshall. "The effectiveness of labanotation in learning ballroom dance /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901658673.
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Shindler, Nicholas. "Feature Assessment for the Analysis of Latin Dance Modeling Two-Person Dance with Machine Learning." Thesis, Örebro universitet, Institutionen för naturvetenskap och teknik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-84466.
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Lallathin, Jayma R. "Skill acquisition and learning in dance : a traditional vs. biofeedback approach." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371848.
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Practice and modeling are common approaches to teaching motor skills. Qualitative and quantitative feedback have also been used to improve complex skill learning. The purpose of this study is to determine if providing real-time kinematic feedback in addition to traditional training will enhance skill acquisition of unskilled dancers when compared to traditional dance instruction alone. Two groups of dancers participate in testing and training protocols including a traditional group and a biofeedback training group to examine differences between the two teaching methods. Significant differences were found due to time for knee flexion and hip rotation. Significant differences due to training group were found at one time point for knee flexion. The main finding of this study was that the addition of biofeedback had a limited effect on skill acquisition on beginning level dancers.<br>School of Physical Education, Sport, and Exercise Science
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De, Negri Linai Vaz. "Self-perception and the learning of movement skills in dance and synchronized swimming : the effects of a somatic approach." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272289128.
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Sadoff, Annabelle. "Understanding the Body-Mind Unification to Promote Foreign Language Learning as a Somatic Experience." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1351.
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This paper stems from my positive kinesthetic learning experience and aims to delve deeper into the process of learning a foreign language through understanding the body-mind connection and its benefits. Divided into five chapters, this paper targets foreign language teachers and is meant to change the ways of thinking of traditional educators. It invites both educators and learners to exploit the body-mind unification, hoping to turn foreign language learning into a somatic, first-person experience rather than the more common rote method of learning from a third-person perspective.
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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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Ramdour, Sonia Jane. "Learning to dance in the rain : stories of young people taking antipsychotic medication." Thesis, University of Central Lancashire, 2016. http://clok.uclan.ac.uk/16563/.
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Early intervention to promptly identify and treat psychosis limits the duration of untreated psychosis and improves patient outcome. Despite evidence to support efficacy, approximately 50% of young people do not take antipsychotic medication as prescribed. This research was designed to explore factors which may promote and deter teenage adherence with antipsychotic medication. Initially intended as a quantitative study, the research pragmatically shifted to a qualitative design following recruitment difficulties. Narrative inquiry and auto-photography were used to obtain stories from ten young people prescribed antipsychotic medication as a teenager. Participants collected images illustrative of their medication journey, discussing these images and their medication stories at interview. Analysis of data uncovered a metastory of a journey from darkness to brightness. In darkness, symptoms predominated bringing fear, isolation and unpredictability. As medication took effect, stories became brighter evidencing hope, happiness and productivity. Four stories linked to medication adherence emerged; namely endurance, motivation, control and resentment. Underpinning sub-stories included the endurance of resisting symptoms, taking medication long term and dealing with medication side effects. Sub-stories of motivations related to being well, being a ‘normal’ teenager and having a brighter future. Control was evident in the positive choices.
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Heikenström, Julia. ""Vi är inte gjorde för det här!" : en kvalitativ intervjustudie om danslärares upplevelser av distansundervisning till följd av Covid-19." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-959.
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The aim of this study was to investigate dance teachers’ experience of distance learning regarding difficulties, benefits and in regard to assessment. The method used was semi-structured interviews and a phenomenological perspective was used to analyse the result of the interviews. The results showed several challenges and a few benefits. The challenges were mainly related to technical and spatial constraints and difficulties in giving formative feedback. On the other hand, filming as a didactic tool was highlighted as an advantage.
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Evangelopoulou, Polyxeni. "A case study on Maths Dance : The impact of integrating dance and movement in maths teaching and learning in preschool and primary school settings." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-117682.
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The use of kinaesthetic experiences associated with dance to support learning of curricular mathematics has been little represented in the available literature. Maths Dance is an approach to teaching and learning mathematics through dance and movement. The objectives of the study are related to assessing the impact of Maths Dance on students’ cognitive, affective and physical developmental areas in preschool and primary school settings. The investigation of the case study on Maths Dance took place in London, UK, with the participation of four teaching staff members, who were interviewed in detail, and thirty students of Reception, Year 2 and Year 3 classes, out of which eleven students were interviewed. All thirty students were observed once during three Maths Dance sessions, one session per each age group. Based on a qualitative research approach, the data are analysed and discussed below around seven themes in relation to the theories of constructivism, Dienes’s theory of learning mathematics, Gardner’s theory of Multiple Intelligences and educational neuroscience. According to the main findings, students and teaching staff members express positive attitudes regarding most aspects of the research questions. Specifically, Maths Dance is believed to improve students’ maths skills, critical thinking and creativity, as well as enhance student motivation, socio-emotional and motor skills. The pleasant nature of the activities is also highlighted, an element that is believed to make this method adequate for students of low achievement in maths. However, the small sample size, in addition to the fact that Maths Dance has recently started being implemented in schools, does not permit generalization of the results.
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Fegley, Laura Elizabeth. "The impact of dance on student learning within the classroom and across the curriculum /." Online pdf file accessible through the World Wide Web, 2010. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Fegley_LMIT2010.pdf.
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Bolles, Gina. "An Exploratory study : the intersection of imagery ability, imagery use, and learning style /." Connect to title online (Scholars' Bank), 2008. http://hdl.handle.net/1794/7478.
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Carter, Jennifer. "An integrative approach to style analysis of folk dance melodies with classification using inductive learning." Thesis, University of Derby, 2004. http://hdl.handle.net/10545/621840.
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This thesis investigates the issue of the application of cognitive analysis techniques for Western art music to folk dance melodies for violin, with a view to enabling the development of a computer tool that can aid in the identification and exploration of the stylistic characteristics of the origin of the melodies. The following questions are addressed: Can cognitive music analysis techniques for Western art music be applied successfully to folk dance melodies for violin? Is it possible to define an integrative analysis approach in this context drawing from existing approaches? To what extent can decision tree induction aid in the classification and interpretation of the analysis results? How might the musical data for analysis be represented on computer? What is the best approach to program development for an automated music analysis tool in this context? A series of experiments using samples of American and Irish melodies are presented that verify the use, in this context, of the cognitive analysis approaches of Lerdahl and lackendoff and Narmour. Statistical approaches have also been investigated, since research has shown that such methods can reflect the way in which listeners mentally organise the music that they hear. To enable the analysis to be carried out in an algorithmic way, an experiment using human subjects to further the work of Lerdahl and lackendoff was required. An integrative analysis approach has been identified that can be carried out in an algorithmic way therefore lending itself to future implementation on computer. In order to interpret the results of the analysis process, a decision tree induction tool (SeeS) based on Quinlan's CS algorithm was employed. SeeS was able to classify the melodies based on the attributes derived from the analysis. The decision trees and rules derived by the tool enabled the identification of features of the melodies that pertain to their origins, thus enabling a deeper understanding of the stylistic variations of the melodies. A further experiment indicated that the cognitive analysis approaches and subsequent classification with SeeS compares favourably with the classification abilities of human subjects after a small amount of training in the musical context. Further inductive learning techniques (decision tree induction using Friedman's CART, and neural networks) have been applied to the problem of classification andinterpretation of the analysis results, and although the neural network classified the musical samples with greater accuracy (illustrated using ROC analysis), decision tree induction has been shown to be a more appropriate method in this context. Approaches to music representation and subsequent program development have been investigated, reSUlting in a proposal for future computer implementation of a music analysis tool using the Humdrum toolkit as a means of representation, and a declarative language for the program development.
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Falk, Jodi Paige. "I FELT: SELF, MOVEMENT, PARTNER, GROUP: A STUDY OF INTERSUBJECTIVE CONNECTION IN COMMUNITY- ENGAGED DANCE EDUCATION." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/514213.
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Dance<br>Ph.D.<br>This dissertation research examines students’ lived experiences of dance improvisation in a 2014 Hampshire College course titled “Community Crossovers: Dance in the Community” taught by the author. Research methodology is informed by the hermeneutic phenomenology of educational philosopher Max van Manen, dance education research grounded in phenomenological methods by Karen Bond and Susan W. Stinson, among others, and researchers and writers of classroom action research. Sources of qualitative data include students’ reflective writings about their experiences of three selected dance improvisations—Human Puzzle, Mirror, and Approach/Avoid—in both college and community settings. Additional sources contextualizing students’ experiential meanings include course entry questionnaires, videotaped college and community dance sessions, written pedagogical and phenomenological reflections of both the researcher and a teaching assistant, and class discussions. Our Massachusetts community partners were the Treehouse Foundation, Easthampton and the Robert Fitzgerald Kennedy Children’s Action Corps, South Hadley. Student lived experience writings were coded over several cycles to identify categories of meaning in each of the three improvisations at both college and community sites, and these were analyzed for themes across four modes of student participation: self, partner, group and movement (an aesthetic mode). Findings revealed bodily-affective-social-aesthetic meaning making that foregrounds relationality, or connection, through embodied experiences. Students’ descriptions of connection can be understood as qualitatively distinct kinds of felt intersubjectivity: two-person, merged, and other-first. Findings are placed in conversation with literature from dance, community-based education, philosophy, and critical pedagogy.<br>Temple University--Theses
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St, Germain Laura. "Examining the Optimal Frequency of Modeling Under Varied Constrained Choice Conditions for the Learning of a Dance Skill." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37918.
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Various constrained frequencies of skilled model observation, under self-controlled conditions, were examined to determine whether there was an optimal frequency of modeling for learning a dance movement. Forty-eight participants with no previous dance/gymnastics experience first did a pre-test, then learned the skill over 60 interspersed observational and physical practice trials in one of four conditions that consisted of either (1) 25%, (2) 50%, (3) 75% modeling frequencies, or (4) no constraint imposed. This 60-trials acquisition phase was followed by a 24-hour post-test. Physical performance, scored by two external evaluators, revealed a significant main effect of Time from pre- to post-test (F(1, 44) = 120.43, p < .001). Cognitive representation scores revealed a main effect of Time for an image selection test (F(1, 44) = 39.09, p < .001), and a Time by Decision interaction for a forced-choice test (F(1.53, 67.48) = 7.00, p = .004). While learning was demonstrated for all measures, evidenced by higher scores at post-test than at pre-test, no main effect of Group was obtained. Consequently, the frequencies of modeling tested here under self-controlled learning conditions were equally beneficial for the learning of the novel dance skill.
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Hayes, Maria Theresa. "Learning to dance on the page : approaches to learning to draw movement by integrating analogue drafting techniques within a technologically assisted environment." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/879896b7-6b3a-4940-b02c-265fd08f93ca.
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Technological interventions, in combination with creativity and drawing skills, have altered the course of representation in art throughout history. The camera obscura, camera, data projector, and now digital technologies assist artists to make images that describe a world in motion. Learning to draw movement requires intense periods of connected looking, which can be difficult to maintain. Video Projection Drawing (VPD) integrates analogue methods of observational drawing within a technologically assisted environment. It is used in this research to retrain embodied responses when drawing a subject in motion from observation. This study combines practical investigations, workshops and performative collaborations with a review of relevant historical and technical literature. The quality of an energetic interchange experienced between an observer and an artwork, and the artist and the observed subject, is significant; so, where possible, observations are based on the viewing of original work, from cave drawings to contemporary art. In this study energetic interchanges are understood as phenomenological experiences where both parties affect each other. The practice-based research culminated in the show Shedding Skins (2011), which was divided into four spaces. Shedding Skins, a video installation on a Selkie theme, documented drawings of movement coming in being. The drawings that resulted from the processes captured on video were exhibited in the adjacent space. Dancing in Time, an in-depth study of drawing step dancing and Drawing with Light, videos and photo documentation of work carried out in educational settings were presented in the third space. The final room, a demonstration space, hosted The Energy Gift Exchange. For twelve days, the movements of visiting practitioners (musicians, actors, dancers and storytellers) were drawn using the video projection method. Participants from the visiting public, art school students, invited community groups and myself engaged in the Energy Gift Exchange and were observed learning to draw movement in the assisted environment. The resulting research documented here contributes to the field of contemporary Fine Art and to the debate on Fine Art training. It identifies a new role for observational drawing: to reveal movement that is seen but not easily separated from the observed event. The findings recommend reinstating observational drawing as a necessary part of Fine Art training. VPD proved to be an accessible method for all levels of artistic and technical ability. Drawing movement in the assisted environment improved looking, deepened engagement, extended familiar skills, developed new ones, retrained embodied responses, and encouraged an atmosphere of collaborative creative enquiry. Learning to draw movement requires a state of being and a course of action working together in concert with the observed situation — a condition which I call ‘connected looking.' The energetic quality that drives continuously unfolding events is captured in movement traces. This kinaesthetic trace results from an embodied response to the subject in motion through sustained, connected looking. Instead of a look-draw-look-draw pattern of behaviour as observational drawing training currently promotes, this method encourages sustained looking with the eyes, while the hand traces the eyes’ observations on the page. Assisted by lens based technology the observing body abstracts, translates and reveals previously indivisible lines of movement into drawing by learning to dance on the page.
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Donovan, Samantha Jane. "Professional development supporting the integration of dance in the primary classroom." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16389/.
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In 2002, the Queensland Schools Curriculum Council launched the Years 1-10 Arts Syllabus as one of the eight Key Learning Areas. This syllabus requires primary teachers to provide arts learning programs in the areas of Dance, Drama, Media, Music and Visual Arts. This syllabus was a landmark for arts education in Queensland as it became a mandate for primary teachers to teach each strand of the arts. This move is one of many recent changes in arts education evident across the globe reflecting a common move towards a broad arts education in schools. In alignment with the mandatory requirement of the Years 1-10 Arts Syllabus, primary teachers are now required to teach Dance, a subject which most have had little to no training or professional development in. This thesis will explore the research question, 'Which strategies used in professional development build competence and confidence in primary teachers to integrate dance in the primary classroom?' Through a series of school-based professional development workshops conducted at two Gold Coast primary schools, the research project utilized an action research approach (Kemmis, 1988) to investigate the effectiveness of this professional development approach. After collating and analyzing the data gathered from these two research sites, a number of key themes emerged around the initial resistance factors to dance professional development and the integration of dance learning in the classroom as well as the impact and influence of this professional development on teachers' competence and confidence. The research identified a range of professional development strategies including learning experiences, structures, resources and conditions that have impacted on the effectiveness of this professional development. Some of these strategies are dance specific while others are more generic and have broader implications for the development and facilitation of professional development of Queensland primary teachers.
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Swinford, Rachel R. "Adapted dance - connecting mind, body and soul." Thesis, Indiana University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3610166.
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<p> Using Heideggerian interpretive phenomenology, this study illuminates the lived experience of an adapted dance program for individuals with Down syndrome and their family members. The overall pattern from both dancers and family members was adapted dance: connecting mind, body and soul. The primary theme from dancer interpretations was expressing a mosaic of positive experiences, and the primary theme from family member interpretations was experiencing pride in their loved ones. The dance program provided dancers an opportunity to express their authentic self while experiencing moments of full embodiment in the connection of their mind, body and soul. While dancers experienced the connection of mind-body-soul, family members recognized the importance of this connection in their loved one. This research is instrumental in advocating for opportunities for individuals with Down syndrome to experience dance as a social, physical and intellectual activity that results in learning and increasing social interactions. The research findings from this study can support future initiatives for dance programs that may influence a population that has limited access to physical activity and dance. The study's teaching strategies, dance activities, class procedures and sequences, and feedback techniques can be used by other professionals who teach individuals with intellectual disabilities.</p>
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Butterworth, Joanne. "Dance artist practitioners : an integrated model for the learning and teaching of choreography in the tertiary sector." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.274311.
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Ames, Margaret Patricia. "Alternative aesthetic encounters: creating dance-theatre performance with artists with learning or intellectual disabilities : seven published works." Thesis, Aberystwyth University, 2017. http://hdl.handle.net/2160/ea8c5832-bf22-4cf0-a131-4fe61370203d.
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Kučmienė, Ramunė. "Šokio mokymosi motyvacijos veiksniai paauglystėje." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100707_142413-22292.
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Šokio mokymosi motyvacijos veiksniai paauglystėje
Mokslo paskirtis – ne tik kurti, kaupti ir skleisti mokslo žinias bei kultūros vertybes, įtvirtinti nacionalinės kultūros savitumą, bet ir ugdyti kūrybišką, atsakingą asmenybę, gebančią diskutuoti ir abejoti, kritiškai ir laisvai mąstyti, ne tik prisitaikyti prie nuolatinės kaitos, bet daryti jai įtaką naujomis idėjomis ir darbais. Viena iš sėkmingo mokymosi paskatų yra mokymosi motyvacija. Motyvacija – tai veiksmų bei elgesio žadinimas ir skatinimas, vykstantis žmogaus psichikoje. Jei norime žinoti, kodėl besimokantysis vienaip ar kitaip elgiasi, turime ištirti jo motyvaciją. Jeigu norime keisti elgesį, turime keisti ir jo motyvus – vidines priežastis, dėl kurių kas nors daroma arba vienaip ar kitaip elgiamasi (Jovaiša, 1987). Motyvai, būdami vidine mokymosi bei išmokimo paskata, sukelia kryptingą aktyvumą. Be motyvacijos, nėra nei mokymosi tradicine prasme, nei mokymosi pagal programas. Motyvacijos reikia, be jos prastėja rezultatai. Deja, mokantis dažnai jos stinga, tai yra blogų rezultatų priežastis (Kaluinaitė, 2007). Mokytojui svarbu žinoti mokymosi motyvus, kad galėtų juos reguliuoti, valdyti. Motyvacija svarbus dalykas, nes ji gali būti ir tikslas, ir priemonė, siekiant mokymo tikslų.
Kodėl paauglystėje silpnėja mokymosi motyvai, kodėl šiame amžiuje dingsta spontaniškas vaikų kūrybingumas? Todėl, kad kinta jų mąstymas, veiklos pobūdis ir jos vertinimas. Svarbu ne tik tai, kad mokiniai nesugeba mokytis. Tikroji... [toliau žr. visą tekstą]<br>The purpose of science is not only to create, collect and disseminate science news and cultural values, to consolidate the originality of national culture but also to develop creativeness, a responsible person, able to discuss and doubt, to think critically and free, not only to adjust to permanent changes, but also to influence those changes with new ideas and works. One of the incentives of successful learning is a motivation of learning. The motivation is a stimulation and encouragement of actions and behavior, proceeding in a human psyche. If you want to find out, why a pupil behaves in one way or another, you should examine his motivation. If you want to change his behavior, you should also change his motives – the internal reasons why something is made one way or another (Jovaiša, 1987). The motivation, being the internal stimulus of study and learning, causes purposeful activity. There is no any learning in additional sense, nor learning by programs, if the motivation is absent. The motivation is necessary, because the results decline if there is no motivation. Unfortunately, very often there is a lack of motivation while learning and this is the reason for poor results (Kaluinaitė, 2007). In order to control and handle the motives of learning, it is very important for the teacher to know them. The motivation is very important, because it may be a target and an instrument to pursue educational goals.
Why learning motives weaken during the adolescence? Why children’s... [to full text]
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Sjögren, Karin. "Dans i förskolan : en kvalitativ intervjustudie om pedagogersuppfattningar om och erfarenheter av dans i förskolan." Thesis, Södertörns högskola, Lärarutbildningen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-33472.
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The aim of this study is to look into educators’ view on dance in preschools based on their interpretations of the curriculum for the preschool and their experiences of the field. The questions asked in this study were how does the educators interpret a specific goal of ambition in the curriculum for the preschool where dance is mentioned as one of many forms of expressions, how does the educators work with dance in the preschools and which are the educators opinions about dance in relation to learning and development. To collect material for this study qualitative interviews were performed with educators who work with dance in the preschool. The results were analysed with a socio-cultural perspective on learning and the theory of multiple intelligences.The results showed that the educators mean that dance is very useful in the preschool. Dance stimulate children’s need of movement and the joy of movement, but it’s also a way of expressing thoughts, feelings and experiences. According to the educators the focus in their work with dance in preschools is to use the body for exploration, create their own way of dancing and develop the sensation and perception of the movement rather than how it looks.The specific goal of ambition in the curriculum for the preschool where dance is being mentioned as one of many forms of expressions the educators interpret as that the preschool should give opportunities for children to explore many ways of expressions, where dance can be one of them. In the preschools dance occur as dance lessons as well as a part of gatherings or just spontaneously, indoors and outdoors.The educators declare that dance supports development in many ways. It can help in strengthening ones self-confidence and trust in ones abilities but also help the development in for example mathematics, language and natural science. The educators accents that dance also has an intrinsic value, that it generates joy and is an additional way of social interaction.
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Cara, Nikita. "The effect of Indian dance on gait and balance of children : comparing Grade R and Grade 7 children." University of the Western Cape, 2016. http://hdl.handle.net/11394/5010.
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Magister Artium (Sport, Recreation and Exercise Science) - MA(SRES)<br>Through the process of motor learning and control, new skills are then developed. There are various physical activities that enable the development of new motor skills, one being dance. Numerous studies have found that dance has improved sensorimotor control of body sway following just a single dance session. Furthermore, learning dance engages a variety of cognitive resources that improve postural control of children. Dancing therefore contributes to the development and refinement of the fundamental motor skills like gait and balance. The aim of this research was to determine the effect of dance training on gait and balance of Grade R and Grade 7 school children, and to investigate which age group would best demonstrate these effects. This study was conducted using an intervention and control group. The Grade R intervention group constituted a sample of thirty-four participants, the Grade R control consisted of twenty-seven participants, the Grade 7 intervention group and control group consisted of twenty-one participants each. Three different testing instruments were used; a 10-meter walk test for stride pattern analysis, a dynamic balance test known as the tandem gait and the static balance test known as the tandem stance balance test. Both the control and experimental group were required to perform these tests before and after the intervention period. The dance training lasted a period of six weeks and was conducted on a weekly basis. Following the intervention it was found that only Grade R stride pattern in terms of stride frequency was significantly changed and that no significant changes were seen at any time for Grade 7 children stride pattern and balance. The balance changes were seen for both Grade R intervention and control groups, showing that the children were improving with physical activity, which cannot be attributed to dance alone. This highlights that training should be started at the young age, and that physical activity programs like dance are good and diverse options to consider when designing such activities.
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Willadino, Isabel Costa. "Dança Zouk : trajetórias do aprendiz." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/49841.
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Esta pesquisa trata do aprendizado da dança Zouk. Tem como objetivo descrever e analisar como o aprendiz se orienta a partir das informações recebidas, em resposta ao modelo e às solicitações do professor, em relação ao ajuste do movimento corporal ao tempo proposto e característico da Dança Zouk, assim como, explicar de que modo ocorre a independência desse aprendiz com relação ao modelo. Participaram da pesquisa 23 sujeitos adultos iniciantes em dança Zouk, com idade entre 19 e 61 anos, que frequentavam aulas de dança em três instituições privadas da cidade de Porto Alegre, sendo duas escolas de dança e uma universidade que oferece curso de dança na modalidade de extensão. Os dados empíricos provêm de 9 sessões de observação de aulas de dança Zouk e de 23 entrevistas semiestruturadas realizadas com os participantes, colhidos nos meses de agosto e setembro de 2011. A base teórica ampara-se em Braun, Rebouças e Ranvaud (2009) e Rocha (2008) a respeito de aprendizagem motora, Caregnato (2011) sobre aprendizado do ritmo, Fraisse (1974) sobre ritmo e percepção e Wachowicz (2010) a respeito do ensino de dança. A partir dos resultados encontrados, entende-se que a aprendizagem da dança Zouk depende da construção da representação mental do gesto. Até que ocorra a construção da imagem interna, o aprendiz necessita eleger fontes de informação para realizar as tarefas. Destaca-se a informação visual, indicada pelos aprendizes como a principal fonte de informação no momento de aprender, e a importância do professor como modelo e referência. Quanto aos aspectos rítmicos, foi constatado que a voz do professor, empregando sílabas e ênfases, concretiza para os aprendizes os detalhes do ritmo. Na aprendizagem dos movimentos característicos da dança, o ajuste do corpo ao tempo forte da música antecede a compreensão do tempo musical. Os resultados da pesquisa poderão contribuir na construção de uma pedagogia da dança, oferecendo aporte teórico e reflexões acerca dos modos de ensinar e aprender a movimentação característica da dança Zouk.<br>This study is about the learning of the Zouk dance and has the aim to understand how the student coordinate the information at the moment of learning as well as to observe the way he reacts and orientates himself from the received information. The observations involve the way how the student tries to adequate the body to the gestual to accomplish the movement of the feet as well as to move with the music. The subjects of this study were 23 adults that were attending Zouk dance classes within two private schools and an university situated in Porto Alegre, Brazil. Data were collected during the months of August and September, 2011. The present research is supported by some theoreticians like Braun, Rebouças and Ranvaud (2009), Caregnato (2011), Fraisse (1974), Rocha (2008) and Wachowicz (2010). From the results, it is understood that the Zouk dance learning depends on the construction of the mental representation of gesture. Until the construction of the internal image occurs, the learner needs to choose sources of information to accomplish the tasks. I highlight the visual information indicated by the learners as the main source of information at the time of learning and the importance of the teacher as model and reference. Regarding the rhythmic aspects, it was found that the teacher's voice, using syllables and emphases, solidifies details of the rhythm. To learn the characteristic movements of the dance, the learner adjust the body to the downbeat of the music before understanding the musical time. The results of this study should contribute with reflections about the way to teach dance, using the specific Zouk music in a way to optimize the learning of the characteristic movement.
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Garner, Jocelyn. "Perceived influences of feldenkrais somatic practice on motor learning, motor control and creativity in college and University dance programs." Thesis, City University London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514491.
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This study investigates the ways in which the Feldenkrais Method is perceived to influence motor learning, motor control, and creativity in certain college and university dance programs located in the United Kingdom, Canada, and the United States. The study reviews literature concerning the Feldenkrais Method and its relationships to theories of motor learning, motor control, and creativity. Data were processed utilizing the epistemological stance of interactionism and grounded theory methodology. Data col/ection included on-site semi-structured interviews of key personnel, both instructors and their students, observations of studio andlor classroom lessons, and document review. This study provides primary stage research on the perceived influence of the Feldenkrais Method on motor learning, motor control, and creativity in dance practice. Beliefs exist in the field of somatics that the Feldenkrais Method develops and improves internal matters and learning processes. This study documents and supports certain of these beliefs, offering new insight into how dance is perceived to be influenced. Among these influences, patterns and issues were identified and differentiated. These include effects such as improved internal sensitivity, ability to attend to sensations and perceive internal information, and developed selfawareness. Further effects include influence on anatomical learning, particularly in regard to learning about human and personal anatomy, understanding interaction amongst body parts, and improved movement efficiency. Additionally, identified patterns of influence suggests a method of learning, using processes of exploration, investigation, and experimentation, that is developed and improved in order to aChieve these effects. The study identifies the need for more effective ways to transfer Feldenkrais philosophies and experiences to a greater number of aspects of dance training, particularly in dance technique. An issue concerning an internal/external split of perceived Feldenkrais influence was identified in this research. It is crucial for the identified patterns of influence to exist in certain externally oriented situations, and, therefore, this must be recognized and more closely addressed. Although transfer of Feldenkrais needs to be addressed in both dance technique as well as dance choreography, it was identified that there is less of an issue with transfer to dance choreography, as this is an area where there is often more opportunity to address internal matters and new learning processes. This study contributes to the scholarly work of Feldenkrais specifically, as well as to somatics more generally. A critical analysis and subsequent new theory is presented as to what is occurring during the inclusion of Feldenkrais somatic practices in dance, and why dancers are being influenced in certain ways. This study contributes an analysis of somatic work that occurs in dance, and, it offers a framework for understanding how and why this form of somatic work affects dancers. The study also provides critical analyses of how the Feldenkrais Method is being used, and can be used, to enhance performance and to achieve optimal performance in dance practice. New knowledge and new theory provided by this study can assist in the development of the integration of somatic education and dance practice, and encourage practitioners from both fields to more effectively assist their students in making the transfer of Feldenkrais experiences and information easier and more likely to occur. Information from this study can likely serve as a foundation for future studies concerning Feldenkrais somatic practice in relation to dance. It is likely that knowledge and theory from this study may be applied to teaching and learning other somatic performance activities
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Polyniki, Antigoni. "From wedding dance floors to music classrooms : narratives of learning to play traditional music instruments amongst Greek Cypriots (1930-2010)." Thesis, University of Reading, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558792.
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In recent years there has been a noteworthy revival of traditional instrumental mUSIC III Cyprus with the setting Up of schools and organizing workshops of traditional music, and the emergence of a new generation of Greek Cypriot professional instrumentalists and teachers. This study examines the narratives of learning to play traditional music instruments amongst Greek Cypriot musicians in the period 1930-2010. In doing so this study explores the development of the music learning system from its genesis in wedding celebrations, the influence of western music and training methods on the performance and learning of traditional instruments, and the dissemination of the instrumental tradition in the context of traditional dance ensembles to the systematic institutionalised teaching of traditional music in the early twenty-first century. The findings of this study contribute to an understanding of the various factors that influenced the transmission of the instrumental tradition in Cyprus during the twentieth and twenty-first centuries, the ways in which instrumental skills and knowledge of the repertory were acquired in particular cultural, temporal and spatial contexts and the manner in which teaching is informed by personal circumstances and the requirements of the tradition in contemporary learning environments.
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Cordier, Virginie. "Influence de la simulation mentale guidée sur l'apprentissage du mouvement en danse." Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0003/document.
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Ce travail a pour objectif de mettre en évidence les effets de la simulation mentale guidée sur l’apprentissage, sur la performance et sur l’image du mouvement en danse. Dans la revue de littérature, nous présentons les principales théories de l’apprentissage cognitif et socio-cognitif, ainsi que les mises en œuvre des méthodes d’apprentissage issues de ces deux champs théoriques. Puis, à partir des spécificités de la danse « didactisée », des transformations visées en milieu scolaire et universitaire, et de la place des images mentales en danse, nous envisageons la simulation mentale guidée par des consignes rythmiques, motrices et métaphoriques. Nous présentons ensuite une étude préliminaire visant la construction d'outils d'évaluation de la performance en danse, ainsi que deux études expérimentales menées auprès de sujets adultes novices portant sur l'apprentissage lors de tâches de reproduction de forme et d'improvisation-composition. Les résultats dans ce qu'ils ont d'essentiel montrent (1) que la simulation mentale est une méthode d'apprentissage plus efficace que l'observation à partir du moment où elle est guidée, (2) que les consignes rythmiques sont fondamentales dans l'apprentissage en danse parce qu'elles permettent d'organiser et de structurer le mouvement, (3) que les consignes métaphoriques apparaissent particulièrement adaptées à la dimension expressive et artistique de la danse. Dans leur ensemble, ces résultats soulignent l'importance de guider la simulation mentale à l'aide de consignes pour s'assurer de son efficacité dans l'apprentissage<br>This study aims to highlight the effects of mental simulation of guided learning, performance and image of the movement in dance. In the literature review, we present the main theories of cognitive and socio-cognitive, and implementations of learning methods from these two theoretical fields. Then, from the specifics of the dance "didactical" transformations referred by schools and universities, and the place of mental images in dance, we consider the mental simulation guided by rhythmic and metaphorical instructions. Afterwards, we present a preliminary study for the tool construction for assessing performance in dance, and two experimental studies conducted with novice adult subjects on learning tasks during reproduction of form and improvisation-composition. The results in their essence show (1) that mental simulation is a more effective method of learning than observation, from the moment it is guided 2) that the rhythmic instructions are fundamental in dance learning because they help to organize and structure the movement, (3) that the metaphorical instructions seem particularly suited to the expressive and artistic dimensions of dancing. Taken together, these findings emphasize the importance of guided mental simulation with instructions to ensure its effectiveness in learning
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Ribeiro, Marcos Vinicius Amaral. "Corpo-criação: ressonâncias entre dança e a aprendizagem." Universidade Federal de Juiz de Fora (UFJF), 2011. https://repositorio.ufjf.br/jspui/handle/ufjf/3467.
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Previous issue date: 2011-04-04<br>CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Estabelecendo vizinhanças entre a dança e a filosofia nômade de Deleuze e Guattari, o
presente estudo propõe-se a produzir uma experimentação em que as noções de corpo e
aprendizagem conquistam sentidos de performance e que nos permitem encarnar, nesta
escrita, uma política de narratividade que é atravessada pela a dança, o dançante-professor,
os dançantes-alunos. As questões aqui apontadas, mobilizadas por uma investigação
cartográfica que perpassa uma oficina de dança e uma escola de dança, abrem discussões
acerca das noções de corpo, arte e aprendizagem, procurando pensar a noção de corpocriação
para falar de uma constituição outra do sujeito a partir do funcionamento de um
dispositivo concreto. O sujeito “cai na roda da dança” e vivenciando as improvisações e as
imitações inventivas, produz a roda e se produz na roda, performando e performando-se. O
sujeito “cai na aula de dança” traçando linhas de fuga que vazam da forma do conteúdo
oferecido para um fluxo coletivo, permitindo assim, a constituição de um modo de existir
outro diante da problemática do aprender. A improvisação na roda e a escola de dança
como momentos investigativos de campo, ajudam a escancarar o corpo, abrindo espaço
para a constituição de um corpo-coletivo, pensado como um elemento potente para se
discutir a educação como processualidade. Trata-se de um estudo que foca um caso
específico: acompanha um garoto de 14 anos de idade que, a despeito dos investimentos
familiares e dos supostos investimentos da escola, não está alfabetizado e que, através do
dispositivo da roda e da escola de dança, cria conexões outras com o aprender. O encontro
com este garoto se deu em uma oficina de dança em uma ONG que acolhe crianças e
adolescentes com diferentes características, entre elas, supostas dificuldades de
aprendizagem escolar.<br>This work intends to set up approaches between dance and Deleuze and Guattari’s nomad
philosophy to produce an experimentation in which body and learning notions gain
performance meanings allowing us to personify, in this writing, a narrativity poltitics that
is passed over by dance, the dancing teacher, the dancing students...restless writing,
characterized to displace the body-form to a device that unfold into other ones. Mobilized
by a cartographic investigation that pass through a workshop and a school dances, these
questions allow a lot of discussions about the notions of body, art and learning, trying
think the body-creation notion to talk of another subject constitution front the operation of
a factual device. This subject “falls on the dance round” and experiencing the
improvisations and the inventive imitations, make the round and make itself on the round,
performing and perform itself. The subject “falls on the dance class” tracing escape lines
that leak from the form of the offered content to the collective flow, allowing the
constitutions of another existence way before to the learning problem. The improvisation
on the round and the school dance help to open wide the body-form, openning space to the
collective-body thought as a device to discuss education as a processivity. Through of the
improvisation game and joke on the round, a refined attention process pervades the
dancing-bodies to the collective of the forces that surrounds the forms of the dance
workshop. However, the school dance and its respective classes appear in a reseach as a
procedural field that allows us the collective body update that makes reverberate on the
consolidated forms of this territory a kind of learning where “dance” the apprentice
ballerina, Igor and the dancing-teacher. It is created a words choreography focusing the
force lines and the affections that compound the body event on its molecular condition,
arranging some resonances between dance and learning.
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Pitale, Jaswandi Tushar. "Development of an Interactive Wearable sensor to Promote Motor Learning in Children having Cerebral Palsy." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1420761976.
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Färlin-Månsson, Sophia. "Språktillägnan genom dans : Intervjustudie av lärare om metoden Dansa en bok." Thesis, Stockholms universitet, Institutionen för de humanistiska och samhällsvetenskapliga ämnenas didaktik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-194288.
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Syftet med denna studie är att undersöka grundskollärares upplevelser och uppfattningar av språktillägnandemetoden Dansa en bok. Fokus har varit att få höra lärarnas beskrivning av metoden, vilka didaktiska drag som synliggjorts, vad dans som form kan bidra med i lärande av annat ämne och hur lärarna upplever elevers språktillägnan vid användningen av Dansa en bok-metoden. De teoretiska perspektiv studien utgår från är fenomenologi och socialsemiotik. Även några begrepp från språktillägnan har använts för att kunna förklara lärarnas upplevelse. Forskningsmetoden som används för att undersöka detta har varit en kvalitativ gruppintervju med lärare i lågstadiet. Samtalet som fördes med lärarna var utifrån ett filmat material där metoden användes. Resultatet visade att lärarna pekade på olika faktorer i metoden som stimulerade elevernas språktillägnan. Lärarna lyfte att en lustfylld och tillåtande atmosfär möjliggör att eleverna vågar använda egna strategier för att lära sig nya ord, uttal och meningar. Lärarna menade också att när dans och rörelse används som medel under språklektionen bidrar det till att elever lättare förstår vad som skall göras då hela kroppen är involverad i kommunikationen och meningsskapandet. Lärarna synliggjorde att flera av målen i Läroplanens riktlinjer nåddes när metoden Dansa en bok användes under engelska-lektionen. Studien synliggör även att mer forskning behövs på hur dans kan användas som medel i teoretiska ämnen.
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Crowe, Susan, and scrowe@ceo balrt catholic edu au. "Dance, Drama and Music - a Foundation for Education: A Study on Implementing the Performing Arts in the Early Years of Education." RMIT University. Education, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080207.135338.
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ABSTRACT In the early years of education, the Performing Arts assume a particular significance as learning is both in and through the Arts. When appropriately managed, they are enjoyed in their own right, but also permeate other areas of the curriculum enabling greater relevance and meaning. The Performing Arts are an excellent means through which children, in their early years of schooling explore and express their feelings. Dance, drama and music are Arts disciplines through which children investigate ideas and exhibit opinions about their known and unknown world. The Performing Arts make an effective contribution to the personal and social development of children. The Performing Arts provide an interesting way for teaching young children the values which many adults believe are vital in today's society. Through the Arts children are able to develop social competencies. Participation in the Arts motivates and enhances young children's desire to learn. The Arts have an important role in inspiring and improving the w hole school environment. This research investigated the teaching of the Performing Arts in primary schools in Catholic Education in the Northern Zone of the Diocese of Ballarat. Literature on curriculum development, education in early schooling, and delivery of the arts and education is examined, as well as the impact of the implementation of the Performing Arts stream of the Victorian Essential Learning Standards. Education of pre-service teachers and the continued professional development of experienced teachers is discussed as is the role of education systems in providing this teacher education. Generalist (non-specialist) teachers from primary schools in the Northern Zone were surveyed and interviewed to establish the current situation regarding the Performing Arts in schools. Based on the literature and the data collected and analysed from the survey and interviews, a number of teaching for learning models were proposed. These models placed the child at the centre of the educational experience, linking the school to the community. The models were informed by current Government and Catholic Education policy. The various components included the current curriculum the Victorian Essential Learning Standards, the important roles played by the school, the teacher and parents. The importance of teacher education and further professional development to ensure the teacher has the knowledge, skills and attitudes needed to implement a quality program was also an important aspect of the models. Findings from the research established that many teachers had basic skills in teaching the different areas of Performing Arts, but lacked confidence in their ability to do so. Therefore, in a number of schools, programs in Performing Arts were either based around the annual school concert or were non-existent. Many teachers used simple Performing Arts activities as a means to teaching knowledge and skills in other curriculum areas. As a result of the research findings and the model development, a resource to enable and assist in the teaching of the Performing Arts was developed for the teachers to implement an appropriate Performing Arts program in the early years of education.
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Brandão, Ana Carolina de Laurentiis. "Shall we dance? Colaboração e histórias do processo de busca por parceiros de tandem." Universidade Federal de Uberlândia, 2011. https://repositorio.ufu.br/handle/123456789/15396.
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This dissertation aims at narrating and describing the searching process of tandem partners
experienced by Language Graduation students from a university in the state of Mato Grosso,
and by me, as monitor of this process. More specifically, this research aims at discussing the
collaboration in this process. These students participated in an extension project related to
Portuguese teaching and English or Spanish learning in-tandem via MSN Messenger. Among
the participants of this study, were the students who chose to learn English in the project. This
dissertation had as theoretical references, studies about computer assisted language learning
(BAX, 2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), the
sociointeractionist perspective (VYGOSTKY, 1998), conceptions about collaborative and
cooperative learning (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), as well as
studies about tandem context (BRAMMERTS, 1996; BRAMMERTS; CALVERT, 2003;
CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). The theoretical-methodological
approach adopted was the Narrative Inquiry, according to Clandinin and Connelly (2000;
2005). The field texts were composed of introductory texts that were part of the profile
created in sites of linguistic exchange, messages sent by the students to members in sites of
linguistic exchange, interactions between these students and the members via theses sites or
via MSN Messenger, and narratives written by them and by me during the project meetings.
The analysis of this material was based on Meaning Composing, according to Ely, Vinz,
Downing and Anzul (2001). Using a metaphorical language, tandem as ballroom dancing, it
was possible to realize through this study that the attempts made by the participants to invite
people to dance tandem were not collaborative invitations, that is, they were not like a shall
we dance? , but like an imposition, a Dance with me! . The lack of collaboration in the
invitations is associated here to tandem principles (reciprocity and autonomy), and to
language learning and teaching conceptions that the participants brought to this experience.<br>Este trabalho tem como objetivo narrar e descrever o processo de busca por parceiros de
tandem, vivenciado por alunas do curso de Letras de uma universidade do estado de Mato
Grosso, e por mim, enquanto monitora desse processo. Mais especificamente, esta pesquisa se
propõe a problematizar a colaboração nesse processo. As alunas em questão estavam
engajadas em um projeto de extensão, envolvendo o ensino de língua portuguesa e a
aprendizagem de língua inglesa ou espanhola via MSN Messenger. Participaram desse estudo
apenas as alunas que optaram por aprender a língua inglesa no projeto. Este trabalho teve
como aporte teórico, estudos sobre aprendizagem de língua mediada por computador (BAX,
2003; LEFFA, 2006; PAIVA, 1999, 2001; WARSCHAUER, 1996, 1997, 2000), a perspectiva
sóciointeracionista (VYGOSTKY, 1998), concepções sobre aprendizagem colaborativa e
cooperativa (CELANI, 2002; DILLENBOURG, 1999; ESHET-ALKALAI, 2004;
FIGUEIREDO, 2006; JOHNSON; JOHNSON, 1998; MAGALHÃES, 2004; PANITZ, 1995;
SMITH; MACGREGOR, 1992; TINZMANN et al., 1990; WIERSEMA, 2000), e estudos
sobre aprendizagem em contexto de tandem (BRAMMERTS, 1996; BRAMMERTS;
CALVERT, 2003; CALVERT, 1992; TELLES; VASSALLO, 2006, 2009). A abordagem
teórico-metodológica adotada foi a Pesquisa Narrativa, segundo Clandinin e Connelly (2000,
2005). A composição do material documentário se deu por meio de textos introdutórios
postados nos perfis de sites de intercambio linguístico, mensagens de convite enviadas pelas
alunas-participantes a membros de sites de intercâmbio linguístico, interações entre essas
alunas e os membros nos próprios sites e no MSN Messenger, além de narrativas escritas por
elas e por mim ao longo do projeto de extensão. Esse material foi analisado com base na
Composição de Sentidos, conforme Ely, Vinz, Downing e Anzul (2001). Lançando mão de
uma linguagem metafórica, o tandem como uma dança de salão, foi possível perceber através
desta pesquisa que as tentativas de tirar pessoas para dançar tandem, feitas pelas alunasparticipantes,
não se constituíram como convites colaborativos, isto é, não foram um shall we
dance?, mas uma imposição, um dance with me!. A não colaboração dos convites foi
relacionada aqui aos princípios norteadores do contexto de tandem (reciprocidade e
autonomia), e a concepções de ensinoaprendizagem de língua que as participantes traziam
consigo.<br>Mestre em Estudos Linguísticos
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Finazzo, Constance Lea. "Increased coordination skills for the third through sixth grade special day class: A dance curriculum unit." CSUSB ScholarWorks, 1998. https://scholarworks.lib.csusb.edu/etd-project/1453.
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This project is a dance curriculum unit designed for teachers working with students who have learning handicaps. It is specifically designed for students in grades three through sixth. It can be used in coordination with the performing arts curriculum or the physical education curriculum.
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Simonson, Annakarin. "Att synliggöra marginaliteten äldre kvinnor i dekonstruktion av samtida dansdiskurser med dekoloniserande metodologi : ett konstnärligt, didaktiskt och koreografiskt projekt." Thesis, Stockholms konstnärliga högskola, Institutionen för danspedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-879.
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The aim of this study is to investigate the relationship between older women and contemporary dance in a choreographic project. I explore in what sense the participation in the project is of artistic value to these women and also what happens in the meeting between me as a researcher, the project itself and the women. The background of this study is a personal interest in age, body and dance as well as an ambition to change normative ideas about the dancer body through action. With a globally ageing population, I have an interest in highlighting an aging female body as a resource in the context of contemporary dance. The study is conducted on the basis of post-qualitative research and decolonizing methodology. The artistic practice is leading and is based on the experiences of the women who participate in the project. As a researcher, my participation in the practice is necessary. By articulating and visualizing the marginality of older women, dance discourses are deconstructed. With improvisation as a performative choreographic practice, transformative learning emerges among participants. The findings of the study show that older women are resourceful and have the capacity for change through dance. This can be achieved in interaction with others and can then be an artistic experience. The artistic and pedagogical values which are experienced by the women in relation to contemporary dance are self-determination, trust and a sense of community. Both individual and collective struggle emerge among me and the women as a force of action. I argue that age norms and bodily ideals in contemporary dance can be challenged by giving older women access to contemporary dance. By articulating and visualizing the experiences of a marginalized group, the meaning of the concepts of dance, body and age are deconstructed and new insights are created which challenge and broaden normative ideas about dance and the dancer body.
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Gies, Maria. "The Use of Video Prompting on the Acquisition, Maintenance, and Generalization of a Line Dance by Adolescents with Autism Spectrum Disorders." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1330907887.
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Salas, Maya. "Young Chicanx on the Move: Folklórico Dance Education as a Mechanism of Self-Assertion and Social Empowerment." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1042.
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In the context of Chicanx experiences in the United States, where varying generations of Chicanxs experience bicultural realities, this study shows how embodied knowledge performed through the body’s movements in folklórico dance by Chicanx youth from multiple generations, acts as a mechanism for reconnecting youth to cultural ties, reevaluating educational practices, and emplacing within youth, the ability to foster the confidence to express and create imagined futures. Data collection incorporated a series of interviews with eight Chicanx youth and adults who have either taught or danced folklórico in the Phoenix, Los Angeles, or Coachella Valley areas. Interview participants revealed a strong sense of cultural orgullo that acts as a bedrock for their cultural identity affirmation and reclamation. This orgullo and other cultural knowledges such as familismo and collective consciousness were emphasized through pedagogies of embodiment. Dancers described learning these cultural knowledges not just through the embodiment of physical dance steps but through the embodiment of social customs honored by their folklórico communities. Much of these social customs centered around fostering and maintaining relationships of genuine, holistic caring. These relationships were foundational for personal, mental, and emotional growth of dancers. Through these relationships, individual identities found the support to thrive within collective communities. Given the influx of educational pedagogies that attempt to depersonalize, depoliticize, and de-emotionalize the education through the implementation of tracking systems, standardized tests, and culturally inaccessible curriculums, these stories suggest alternate forms of learning that may account for students’ entire well-being. While this project is very much about reclaiming historical pasts, it is also about re-envisioning educational possibilities, discovering inner potentials and building collective communities that recognize and rejoice in those potentials. Through this study, a deeper understanding of the functions of movement and dance will strengthen platforms that push arts education and ethnic studies to greater educationalist agendas.
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Lindqvist, Anna. "Dansens plats i skolan : Tradition, utveckling och lärande i Skellefteå kommun." Licentiate thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-59457.
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In 1977 Skellefteå municipality started their work with dance as art in the primary school. By this time, education in the art of dance was an unusual activity in Swedish schools. Commissioned by the Ministry of Education, Swedish Arts Council begun a development work 20 years ago. In april 2005 The Swedish National Agency for School Improvement, Swedish Arts Council, NCFF (a national centra for work with health, ÖrebroUniversity) and the Pupil´s organization signed an agreement. The purpose is to support and develop dance education practice in schools. The aim of this study is to increase knowledge about the tradition and development in dance delimited to dance education in the compulsory school in Skellefteå municipality. Another aim is to describe and analyze how dance contributes to learning in the school setting. Data was collected through interviews mainly with dance teachers and administrators, and through a variety of documentary information, questionnaires and observations. Concerning obser-vations of dance education, ten different classes in primary school were selected. The results of the study indicate that dance in school started as a pioneer work, initiated by the dance teacher Eva Dahlgren, thereafter together with her daughter, Cecilia Björklund Dahlgren. Several significant factors were however crucial for the continued work and the establishment of dance in school in Skellefteå municipality. Cooperation between different participants and an evident definition of dance as an intrinsic value, was important for the further development of dance education. Regarding the tradition of dance implemented by Dahlgren, attention was paid to joy and expression. The prime ideas about dance are still represented in the working plan for dance in school in Skellefteå municipality. In conclusion, there have been few organizational changes during the years. Regarding learning in dance and dance teachers´ approach, a sociocultural perspective indicates the emphasis on interaction between the teacher and pupils. It also brings into focus the communication with body and movements. From a behavioristic perspective, reinforcement /feed-back is common in teaching dance. In summary the dance teacher is in many different aspects an important model for the pupils. By using metaphorical language, and a playful and imaginative educational situation, pupils´ ideas, thoughts and feelings are stimulated.
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Bylund, Sara. "Dans i förskolan : Förskollärares erfarenheter av dans och dans som verktyg för lärande." Thesis, Södertörns högskola, Lärarutbildningen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34464.
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The aim of this study is to analyze the experiences of preschool teachers’ on dance activities in preschool settings. My main focus lies in understanding how big and which kind of role dance has in different preschools. I used three questions to get answers regarding my idea:What experience does preschool teachers have regarding dance in preschool?What knowledge does preschool teachers have regarding dance in preschool?What knowledge does the preschool teachers have about dance as a tool for learning? As a method I used a qualitative interviews’ with four preschool teachers’. I have recorded and transcribed the interviews’ and analyzed the result with a hermeneutics approach. The theoretical frame of the study is founded on a theory based on a phenomenological and a hermeneutic phenomenological perception and a socio-cultural theory of learning. In my search for previous research about dance in preschool I found out that there is little research on the matter so with this study I would like to highlight the importance of using dance as a method of development and learning. The result shows that preschool teachers’ interpret the curriculum in different ways and it affects how they work with dance in their preschool activities. Dance is mentioned in the curriculum, as one of several ways of expression, but it is not clear how they should be interpreted. Preschool curriculum talks about what the children are expected to develop and learn, but it does not appear in what way or methods to be used to achieve this. Another conclusion of the result shows that the preschool teachers’ who of which were interviewed mentions how dance is used in preschool depends on the preschool teachers’ knowledge and interest in dance. The result also shows that the preschool teachers’ I have interviewed had a lot of knowledge concerning dance as a tool for learning, but still dance has a small space in preschool.
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XIE, ZHU-NI, and 謝竺霓. "American Pop Dance MV and The Learning of MV Dance in Taiwan." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/xsethk.
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Wang, Chin-hui, and 王清慧. "Dance and Learning: Women's Participation in a Dance Club in Kaohsiung City." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/59444705797338629813.
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碩士<br>國立暨南國際大學<br>成人與繼續教育研究所<br>94<br>The purpose of the study is to understand the middle-aged women’s motivation, interaction, and gains from their learning experiences in the participation of the learning community. This study focuses on how the middle-aged women constructed and manifested the meaning and value of their subjectivity.
In order to attain the purpose of this research, five middle-aged women selected from one of the Kaohsiung country dance community were interviewed. After the analysis of the interview data, the findings are as follows:
1)Individuals’ internal demand is a big part of motivation for middle-aged women to participate in learning community.
2)The external factors are crucial to affect middle-aged women’s learning.
3)Every Middle-aged woman’s learning dimensions are diverse and abundant.
4)Middle-aged women gain self-development from the reflection and transformation of learning experiences.
5)The others and social context are the main factors to affect women’s subjectivity construction.
6)The processes of women’s subjectivity construction are divided into three phases: hidden self, budding self, and emancipating self.
7)Community experiences reconstruct women’s life world.
8)The construction of the subjectivity facilitates middle-aged women to reflect on the social context where they live and to practice their action.
Base on the main findings of the study, some suggestions for adult education, woman’s learning community, and future researches were recommended.
According to the main findings of the study, some suggestions on adult education, middle-aged women’s learning community, and future researches were recommended.
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Jr, Eleazar S. Sagarino, and Eleazar S. Sagarino Jr. "Dance Video Tutorial in Learning Folk Dance among Grade-8 Public School Students." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/rs4j5m.
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碩士<br>樹德科技大學<br>應用設計研究所<br>107<br>Abstract
The study intended to assess whether the use of dance video tutorial would be effective in learning folk dance among Grade 8 public school students. Specifically, the study aimed to answer the following research questions on how the dance video tutorial helped the learning process of students, the challenges that the students and teacher encountered and how it influenced the affective domain of the learners. So, this study utilized Descriptive method initiated to the Quantitative and Qualitative approaches. The focused of the study were the Grade-8 students in Nemesio-Epifania Taneo Memorial High School in Tingo, Lapu-Lapu City, Cebu, Philippines. The research subjects of the study were chosen purposively based on its number of enrollees. There were two hundred ten (210) respondents in this study, one hundred eighty (180) students were the actual respondents and the remaining 30 students served as the respondents for the reliability testing for survey questionnaire. The techniques and tools for data collection were questionnaires and interviews. Both qualitative and quantitative data were collected and analyzed to answer the problems covered in the research. Majority of the students love to use dance video tutorial. The study revealed that 74.125 % of the students agreed that the content of dance video tutorial is convincing, 74.67% of the learners agreed that it is challenging and 81.79% of the students strongly agreed it is motivating as a tool for learning folk dance. There is a significant difference between the performance of the learners receiving the method of using the dance video tutorial to that of the learners receiving the traditional method of teaching or chalk-talk. It can be concluded in the study that majority of the students love to use dance video tutorial and it is an effective tool in learning folk dance among Grade 8 public school students.
Keywords: Dance Video Tutorials, Learning Process, Public School Students, Folk Dances
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Naesgaard, Elisa. "Engaging in dance culture through the interior design of a Collaborative Dance Centre." 2011. http://hdl.handle.net/1993/4986.
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Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage.
The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance.
By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation.
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CHEN, NAN, and 陳楠. "The Imagery Construction of Costume in Folk Dance Learning." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/yqgex9.
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碩士<br>國立臺灣體育運動大學<br>舞蹈學系碩士班<br>106<br>This thesis focuses on the importance of costume in folk dance learning. A case study was conducted integrating qualitative and quantitative methods,, interview, observation and questionnaire were employed, and folk dance classes of two universities in Taiwan and in Shanghai were selected for analyses. The purpose of this study is to explore how classroom dressing of the ethnic costume on the students’ learning process and outcomes. In literature reviews, it discusses the relationship between the cultural character of national costume and the characteristic of folk dance movement. Through the classroom observation, It compares and analyzes the students’ movements qualities and styles before and after dressing. Using the Dance Imagery Questionnaire in Folk Dance Dressing that the researcher transformed and designed, this study analyzes dressing and students’ constructions of dance imageries in folk dance learning. It also explores the change of the students’ inner emotions and the interpretation of expressions. This study finds that the classroom dressing in the folk dance learning can enhance the students’ dance movements of the pose, posture of cognition, improve the quality of movements. Dressing also helps students to construct their dance imageries and enhances their interpretations in cultural contexts, perception, role, movement and emotion. Also, dressing can promote the establishment of attitude towards learning emotions and the emotional interpretation of dance. In conclusion, this study argues that classroom dressing is very important for folk dance learning. Teachers should well integrate dressing into folk dance learning and training. In doing so, the students could quickly find the "taste" of folk dance that embodies the special uniqueness of the folk dance training.
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Wang, An Ni, and 王安妮. "Media consumption and internet active learning: a case study of youtube dance learning." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/92055536327237911473.
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碩士<br>國立政治大學<br>廣播電視學研究所<br>100<br>This case study is an individual depth interview of qualitative research, aims to understand this teenager--Ming. He uses TV and computers heavily, has an inborn inability to learn, and when he comes back home, there are always no parents accompanying. However, he continues to use a computer to consume and learn things, and the reasons of this phenomenon are interesting.
This study consults Bourdieu's suggestion, analyzing the Internet environment and the teenager himself at the same time. The study finds out that the texts of Net design contain multiple elements of consumption and fashion, which draws Ming to learn. More, though Ming himself can't learn written languages, he finds a sense of identity in the world of online dance learning, and this positive way of learning makes him not only just spend time on the Net, but also enhance his cognitive learning and self-efficacy. In the former, he elevates his learning from knowledge to integration; in the latter, he enjoys the online contexts, masters his way and pace of learning, shows himself creatively, finds out his models from the society, and even develops a positive outlook o life.