Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:57:34Z No. of bitstreams: 2 Dissertação - Mônica Ferreira Maia - 2015.pdf: 6943764 bytes, checksum: 50e54341808dba7eaf3175e581c29781 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-04-20T14:58:57Z (GMT) No. of bitstreams: 2 Dissertação - Mônica Ferreira Maia - 2015.pdf: 6943764 bytes, checksum: 50e54341808dba7eaf3175e581c29781 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-04-20T14:58:58Z (GMT). No. of bitstreams: 2 Dissertação - Mônica Ferreira Maia - 2015.pdf: 6943764 bytes, checksum: 50e54341808dba7eaf3175e581c29781 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-05-28 / This research aimed to investigate the possibilities to adapt the piano repertoire of Brazilian composers of the nineteenth and twentieth century for use in the teaching of two basic steps of classical ballet: pliés and sautés. The research problem consisted in how to recognize, in the Brazilian repertoire, adequatable pieces to teach the steps pliés and sautés. The discussions were based on the musical characteristcs of the steps presented by Cavalli (2001), Neves (1998) and Almada (2006), in addition to musical examples used by the Royal Academy of Dance of London following the models from Lishka (1979), and Spadari and Nicolace (2013). The research methodology used was bibliographic and documental, qualitative, in which scores were selected from Brazilian repertoire investigated at SESC Sheet sites, musicabrasilis.com.br, the pianist Robervaldo Linhares’ collection, this researchers’ collection, and list of repertoire inserted in the Doctoral thesis of Carlos H. Costa (2002). Ten musical excerpts were chosen that suited to teach each step, contemplating Works of Ernesto Nazareth, Carlos Gomes, Villa Lobos and Francisco Mignone. As a result, the brazilian piano repertoire presents many potential sections that can be used for teaching classical ballet. If properly chosen and interpreted, this repertoire can contribute to enrich and enhance the work of pianist ballet accompanist in the formation of the classical dancer. / Esta pesquisa teve como objetivo investigar as possibilidades de adequação do repertório pianístico de compositores brasileiros do século XIX e XX para utilização no ensino de dois passos básicos do ballet clássico: pliés e sautés. O problema gerador da pesquisa constituiu-se em como reconhecer no repertório brasileiro, exemplos adequáveis ao estudo dos passos pliés e sautés. Fundamentou-se as características musicais dos passos utilizando conceitos apresentados por Cavalli (2001), Neves (1998) e Almada (2006), além dos exemplos musicais utilizados pela Royal Academy of Dance of London (RADL) seguindo os modelos de discussão e parâmetros de Lishka (1979), Spadari e Nicolace (2013). A metodologia usada foi a bibliográfica, de caráter qualitativo, em que se selecionou partituras do repertório brasileiro investigadas nos sites Sesc Partituras, musicabrasilis.com.br, no acervo do pianista Robervaldo Linhares, acervo pessoal da pesquisadora e na lista de repertório inserida na tese de doutorado de Carlos H. Costa (2002). Foram escolhidos dez excertos musicais que se adequaram ao ensino de cada passo, contemplando obras de Ernesto Nazareth, Carlos Gomes, Villa Lobos e Francisco Mignone. As análises dos excertos conduziram um olhar comparativo, do repertório brasileiro com os exemplos de partituras da Royal, em que o repertório brasileiro para piano,escolhido adequadamente, contribuiu para enriquecer e potencializar o trabalho do pianista acompanhador de ballet,na formação do bailarino clássico. Verificou-se que o repertório de piano brasileiro apresenta obras em potencial que podem ser utilizadas para o ensino do ballet clássico. Este repertório, se escolhido e interpretado adequadamente, contribui para enriquecer e potencializar o trabalho do pianista acompanhador de ballet, na formação do bailarino clássico.

Ce travail a pour dynamique la construction d’une analyse à la croisée des disciplines des sciences humaines pour mettre en avant les enjeux de la construction du ballet cubain dans la rhétorique révolutionnaire. La Ballet National de Cuba (nationalisé depuis 1959), en tant qu’institution, met en scène des mécanismes et des valeurs propres à la structure du pouvoir dans le régime castriste. Dans cette société, mue par une adaptation des théories marxistes-léninistes, la distanciation vis-à-vis de la religion laisse envisager que d’autres croyances, d’autres pratiques ou d’autres images participent à la production d’une forme de sacré qui forge le lien social et l’identité de la société cubaine. Le ballet cubain peut donc être analysé comme un témoin privilégié de ces particularités, notamment dans le sort que lui et les autorités cubaines réservent à ses icônes féminines et à la diffusion de l’idéal de la danseuse romantique. / This work has for objective the construction of an analysis between the Human Sciences inorder to put forward to advance the stakes in the construction of the Cuban ballet in the revolutionary rhetoric. The National Ballet of Cuba (nationalised since 1959), as an institution, stages mechanisms and values for the structure of the power in the Castro regime. In this society, moved by an adaptation of the theories Marxists-Leninists, the distance towards the religion let us envisage that the other faiths, the other practices or the other images participate in the production of a shape of crowned which forges the social link and the identity of the Cuban society. The Cuban ballet can be analysed thus as a privileged witness of these peculiarities, in particular in the perspetives reserve for its feminine icons and for the broadcasting of the ideal of the romantic dancer.

Literature on the topic of ballet in South Africa is growing. However, there are still gaps as a result of the fragmentation of sources. This dissertation draws on primary and secondary sources to try to provide a coherent discussion of the history of ballet in South Africa from a fresh perspective. The research demonstrates that ballet has been in constant engagement with South African history and society since its arrival on African shores. Through secondary and primary literature, the research starts by engaging with South African balletic history by looking at an overview of ballet’s journey to South Africa and the establishment of balletic societies and institutions. Emphasis is placed on the more successful institutions based in Cape Town and Johannesburg. The history of these institutions, as traced within the research, demonstrates the responsiveness of the balletic community to the environment in which they were situated. South African choreographed ballets with Afrocentric themes are used to highlight the responsiveness that the ballet community has demonstrated towards the historical climate and structures within South African society during and after apartheid. Finally, ballet is explored in the post-apartheid context. Topics that are engaged with here include the removal of grand and petty apartheid policies, as well as the ideas behind the decolonisation of ballet as exemplified by the Cuban-South African exchange. / Dissertation (MSocSci)--University of Pretoria, 2019. / Historical and Heritage Studies / MSocSci / Unrestricted

El ballet tiene una historia y una estética, y con estas, existe también una concepción -a veces implícita y otras públicas- en torno a las capacidades escénicas y al cuerpo que deben tener quienes lo interpretan. En este contexto, se suele ver la delgadez de la bailarina como una característica positiva y necesaria para bailar. Esta investigación parte de la premisa de que esta percepción sobre el cuerpo de la bailarina de ballet influye en otros tipos de danza, como la danza contemporánea. En consecuencia, a través de esta investigación se busca retratar, a partir de la voz de docentes e intérpretes de ballet clásico y danza contemporánea, aquellas prácticas y discursos en donde se reproduce el mandato por un cuerpo delgado como el requerido y adecuado para bailar. A modo de reflexión, se busca visibilizar el conflicto entre el reconocimiento positivo de la diversidad anatómica, a través de la concepción en la danza contemporánea de que “todo cuerpo baila”, y los discursos y prácticas que intervienen en el disciplinamiento del cuerpo de la bailarina para que este sea más delgado, que afecta incluso el bienestar integral de la intérprete. A nivel metodológico se realizó una revisión bibliográfica sobre la historia del ballet y de la danza contemporánea y se puso esta información en diálogo con fuentes secundarias, provenientes de diversas disciplinas, acerca de los constructos de género, el cuerpo, su disciplinamiento y el poder. Paralelo a ello, se realizaron doce entrevistas a docentes y estudiantes de ballet clásico y danza contemporánea, y se puso en diálogo dicha información con las experiencias de la autora en tanto intérprete de ambos géneros (ballet clásico y danza contemporánea). Al final del documento se comparten recomendaciones que son producto de lo conversado con las entrevistadas. / Ballet has a history and an aesthetic, and with these there is also a conception - sometimes implicit and others explicit- related to the body and the scenic capacities that performers must have. In this context, the slimness of the dancer is usually seen as a positive and necessary characteristic to dance. This research comes from the premise that this perception of the body of ballet dancers influences other types of dance, such as contemporary dance. Consequently, the aim of this research is to portray, from the voices of classical ballet and contemporary dance interpreters and teachers, those practices and discourses where the mandate to have a slim body is reproduced like a required for dancing. As final thoughts, it seeks to make visible the conflict between the positive recognition of anatomical diversity, through the conception in contemporary dance that "every body can dance", and the discourses and practices that intervene in the discipline of the dancer’s body to make it slimmer, affecting even the performer's overall well-being. At a methodological level, a bibliographic review on the history of ballet and contemporary dance was made and this information was put in dialogue with secondary sources from different disciplines about gender constructs, body, and it’s discipline and power. Twelve interviews were done with contemporary dance and classical ballet teachers and students; this data collection was put in dialogue with the author's experiences as an interpreter of both genres (classical ballet and contemporary dance). At the end of the document, recommendations are shared as a product of what was discussed with the interviewees.

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M. Ed. / We live in an era of technology where people strive for technological precision and higher standards of living. We can describe this as the information era where it is no longer possible to expect from learners to memorise all given information. Apart from that, we live in a multi-cultural society which leads to unique considerations that have to be accommodated. We are faced with a variety of problems such as economic instability, corruption and crime. An allover result of such conditions could cumulate in problems with discipline. The school is only one of the entities in the total process of learning and current changes in the educational system focus on the responsibility to enrich the child with life-long learning habits. Learning opportunities outside schools are encouraged to enhance self-development and learning. This study aims to explore and describe the life-world of the classical principal dancer in order to gain an understanding of what it takes to become a top performer. The qualities that support educational development and self-development will be outlined. An explorative, descriptive, contextual and qualitative study was carried out with the view to obtain insight and understanding with regard to the classical principal dancer's life-world, what it takes to perform and to reach the top. The research is conceptulised and focuses on principal dancers of the South African Ballet Theatre and the Cape Town City Ballet. The phenomenological interviewing method was used as well as the taking of field notes. The interviews were audio taped and then transcribed. The researcher made use of Tesh's method to process the data. Guba's model was applied to ensure trustworthiness of the research.

Šiame darbe yra nagrinėjama baleto pedagogo, siekiančio išugdyti profesionalų baleto artistą, kompetencijų raiška. Pastebima, kad tik nedidelė dalis baleto mokyklas baigusių mokinių yra puikūs vedantieji balete, sugebantys savo šokiu perteikti dvasines vertybes ir taip įprasminti šokį kaip meno kūrinį. Pagrindiniu tikslu mokymo procese dažniausiai tampa geras pačios išraiškos priemonės pažinimas (šiuo atveju šokio technika), pamirštant, koks svarbus yra ir asmenybės meninės brandos puoselėjimas, skatinantis kūrinio visumos, jo turinio, dvasinių vertybių sistemos suvokimą bei pajautimą, kurio dėka kūryba tampa menu, veikiančiu ir prusinančiu žiūrovą. Baleto pedagogo kompetencijų raiškos ugdymo procese klausimas, kuris iškelia ir problemą, ar iš tikrųjų baleto pedagogai savo kompetencijas panaudoja taip, kad ugdymo proceso metu mokiniai turėtų visas sąlygas šokio pagalba kurti save kaip pilnaverčius savo srities specialistus – baleto atlikėjus – gebančius kurti meną, įgauna esminę reikšmę? Siekiant išsiaiškinti tai, tyrimo objektu yra pasirinkta baleto pedagogo kompetencijų raiška. Tyrimo tikslas – nustatyti baleto pedagogo kompetencijų raiškos ypatumus baleto artistų ugdymo procese. Tyrimo uždaviniai: 1. išanalizuoti mokytojo kompetencijas šiuolaikiniame ugdymo kontekste, 2. nustatyti baleto pedagogo kompetencijas, 3. atskleisti baleto šokėjo kompetencijas, 4. išsiaiškinti profesionalių baleto artistų rengimo specifiškumą, 5. nustatyti baleto pedagogų kompetencijų raiškos... [toliau žr. visą tekstą] / Expression competencies of ballet teacher seeking to prepare a professional ballet artist are analyzed in this work. It is noticeable that, in the ballet, there is only a small part of ballet school graduates who are excellent teachers capable of conveying spiritual values through their dance and so giving meaning to dance as a piece of art. The main goal usually becomes the good knowledge of the expression means (dance technique in this case) forgetting about the importance of fostering individual’s artistic maturity that stimulates the perception of the whole of the art work, its content, comprehension and feeling of spiritual value system, owing to this, creation becomes art that influences and educates the viewer. A question that also raises the problem, if ballet teachers use their competencies in the way that students would have all conditions to create themselves as valuable specialists of their field- ballet artists- who are able to create art in the process of education gains the essential meaning. The object of the research is competence expression of the ballet artist. The aim of the research is to determine the peculiarities of ballet teacher’s competence expression in the process of ballet artist education. The objectives of the research: 1. to analyze teacher’s competencies in the context of modern education; 2. to determine the competencies of the ballet teacher; 3. to reveal competencies of the ballet artist; 4. to find out the specificity of professional... [to full text]

This thesis examines the aesthetic of ballets adapted for BBC Television by producer Margaret Dale, beginning with her entrance to the BBC's training program in 1955 and culminating with her commissioned work Houseparty, which aired in 1964. A historical and organizational framework is discussed regarding the BBC's cultural mission and view of arts programming, as well as general developmental milestones in programming contextualizing Dale's working conditions. Particular focus is placed upon the appropriation of Romantic narrative ballets and their significance in reinforcing an aristocratic and culturally divisive structure in the arts. Textual analyses consider issues of restaging, camera placement, and lighting, as well as television's intimacy and relationship to characterization in ballet narratives.

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This study aims to develop a Daoist movement practice. Based on qi-energy, Daoism, a Chinese ontological study of being, suggests that Dao is the formless changing of in-between being. I explore how the formless nature of Dao informs my own creative practice. I argue that formlessness signifies an uncertain, unexpected, and constantly changing boundary of the self. Improvised movement emerges from within, and as an extension, of formlessness. The improvisational mode considered here is thereby experiential, an expanded way of being, rather than compositional. This thesis presents a somatic practicing process of embodying Dao in emergent movements. Chapter 1 discusses a practice-as-research methodology, which relates the ways in which practice and theory intersect to the relationship of yin and yang from a perspective of qi-energy. In Chapter 2, I discuss the somatic experience of improvised movement arising from qi and rethink the understandings of "practice" in the encounter between movement-based practices and Daoism. In Chapter 3, I borrow Eugene T. Gendlin's theory of a felt sense and explore how the felt experiencing of qi is activated by a holistic awareness and gives rise to movement through the body based on the Daoist concept of the changing self. Then I explore four diverse states of the in-between inspired by the Daoist philosophy of "light" through improvised movement in Chapter 4. Furthermore, in Chapter 5 I develop a sequential transformation of in-between states toward Dao and discuss this process from a Daoist view of the self. A boundary of the changing states is examined in a series of emergent movements as a process of practicing the self in Chapter 6. I finally reflect upon Dao in my developed principle that focuses on an awareness of subtle emergences, and conclude formlessness, as it corresponds to Dao, is an emerging felt sense of being that is constantly changing before interpretation within the self in this movement practice. DVD abstracts: DVD chapter 1: Four states This series of edited videos offers the viewer a flavour of the four in-between states developed over the course of this research (see Chapter 4). Some of the videos are supported with poetic words. Filmmaker Lotti Gompertz's footage uncovers the subtleties of the energy and emergent movement in the four states. DVD chapter 2: Sharing a practice This video consists of documentary material recorded by a still camcorder during a five-session workshop conducted during this research. The highlights of each stage appear briefly, in sequence, presenting the sense of transformation felt throughout the workshop. Footage of the participant and myself are juxtaposed to reveal the differences and similarities of the movement and energy emerging between us that helped me understand my self and Daoism during the workshop (see Chapter 5). DVD chapter 3: Continuous transformation Drawing on footage shot by Lotti Gompertz, this video presents the highlights of each state of my emergent movement. It provides the viewer with a taste of the subtle transformation of the emergent movement and energy involved in becoming a wu-wei (see Chapter 5). DVD chapter 4: Practicing the self This video documents a session in which the focus was on an awareness of subtle changes and emergences. Documented by a still camcorder, this edited video is composed of footage of a guest participant and myself working in the session (see Chapter 6), allowing emergent movement to unfold. The gradual transformation of a felt sense of the self during the session is revealed through subtitles that capture the words we spoke while moving.