Thesis name: The evaluating of the change of walking quality in dancers in comparison with the normal population Thesis goal: This thesis deals with effect of long-term ballet dance on kinematic parameters of gait. The theoretical part includes basic characteristics of gait cycle and kinesiological and biomechanical findings of ballet movement and its compensatory mechanisms in musculoskeletal system. There is analyzed angular parameters of gait cycle in ballet dancers in performance of walking in the experimental part. The results will show if the many-years intensive training of dance affects the alignment of particular joints of the body during human walk. Method: Kinematic analysis by Qualisys system allowing automatic processing of record obtained with infrared cameras. Qualisys uses its own high-frequency cameras for precise movement tracking of the measured object using active or passive markers. Gathered data from device were processed and statictically evaluated with Microsoft Office Excel. Keywords: gait, bipedal locomotion, dance, gait analysis, gait of dancers, ballet, kinematics analysis

Introdução: Profissões que se utilizam de padrões corporais para desempenho diário são encontradas na literatura com a nomeação de profissões não convencionais (como modelos, atletas e bailarinas), com ênfase no público feminino. Para indivíduos inseridos nesses meios, além de carreira profissional, as profissões tornam-se um estilo de vida. Visto que a faixa etária de iniciação nessas atuações é precoce (infância/adolescência), muitos sacrifícios são adotados pelas iniciantes em cada uma dessas atividades, como abandono dos estudos, da cultura, do convívio familiar, dias intensos de trabalhos e constantes pressões quanto a medidas e peso corporal, a fim de atender as exigências de suas profissões. As particularidades comuns e individuais de cada profissão e as cobranças diárias com as jovens podem modificar comportamentos físicos e também alimentares, podendo prejudicar a saúde das mesmas. Objetivo: Identificar se existe relação entre os níveis de aptidão física com marcadores cardiometabólicos de saúde, níveis de atividade física, qualidade de vida e saúde mental em modelos, atletas e bailarinas. Métodos: Este estudo é caracterizado como transversal, onde foram recrutadas 41 adolescentes e jovens adultos do sexo feminino com idade entre 14 e 24 anos, que foram alocadas em 4 grupos, grupo controle/universitárias (GU=11), grupo modelos (GM=11), grupo bailarinas (GB=11) e grupo atletas (GA=8), a alocação foi decorrente das atuações profissionais de cada participante. Foram avaliadas variáveis que compõem aptidão: aptidão cardiorrespiratória, flexibilidade, força muscular dinâmica máxima e resistente e composição corporal); qualidade de vida, variáveis bioquímicas (Lipoproteína de alta densidade (HDL), Lipoproteína de baixa densidade (LDL), Colesterol total (CT), Glicemia de Jejum (GJ); Insulina de Jejum (IJ); Proteína C-reativa (PCR); nível de atividade física e saúde mental. Resultados: Foram encontrados como resultados de nosso estudo que, apesar do pré-julgamento de que as profissões avaliadas possam ocasionar reduções nos marcadores cardiometabólicos, não foram encontrados prejuízos nos indicadores avaliados, tanto para variáveis físicas, metabólicas, de qualidade de vida, de níveis de atividade física e de autoimagem, sendo assim, apontando estar em um estado de saúde favorável nesses parâmetros. Mesmo sem diferenças estatisticamente significativas, todos grupos apresentaram valores acima do ponto de corte para saúde mental (>15). Além disso, foram encontradas diferenças estatisticamente significativas entre idade (anos) (p=0,002), menarca (p=0,004), duração de carreira (p=0,001), estatura (m) (p<0,001), IMC (p=0,018), RCE (p<0,001), %Gordura (p=0,020), VO2pico (p=0,020), 1RM de extensão de joelhos (p=0,031) e flexão de cotovelos (p=0,001), flexibilidade (p<0,001) e mets.min.afvigorosa (p=0,008), mets.minsomatorio (p=0,014). Conclusão: As profissões analisadas não parecem interferir na saúde física e metabólica das meninas avaliadas. Entretanto, para saúde mental, a faixa etária avaliada mostrou-se suscetível a sintomas depressivos. / Introduction: Professions that use body patterns for daily performance are named in the literature as non-conventional professions (such as models, athletes and ballet dancers. For the individuals inserted in this media, besides a professional career, the professions became a lifestyle. Given that the age of initiation in these careers is early (childhood/adolescence), many sacrifices are adopted by the beginners in each of these activities, like dropping out of studies, culture and family life, intense working days and constant pressures school their body measurements and weight, in order to meet the requirements of the professions. The common and individual particularities of each profession and the daily charges with these individuals may modify their physical and eating behaviors, which can ultimately impair their health specially in girls. Objective: to identify if there is a relationship between physical fitness levels and cardiometabolic health markers, physical activity levels, quality of life and mental health in models, athletes and ballet dancers. Methods: 41 female adolescents and young adults were recruited, aged between 14 and 24 years, who were allocated in four groups, control group/undergraduates (UG=11), models group (MG=11), ballet dancers group (BG=11) and athletes group (AG=8), the allocation was according to the professional performance of each participant. Variables composing physical fitness (cardiorespiratory fitness, flexibility, maximal dynamic strength, local muscular endurance and body composition), quality of life, biochemical variables (high-density lipoprotein (HDL), low-density lipoprotein (LDL), total cholesterol (TC), fasting glucose (FG), C-reactive protein (CRP)), physical activity level and mental health were evaluated. Results: As results of our study, it was found that besides the previous judgment that the professions assessed may cause reductions in cardiometabolic markers, we did not find impairments in the markers evaluated, either for physical, metabolic, quality of life, physical activity levels and self-image outcomes, therefore, it seems that these girls have a favorable health status in these parameters. Even without statistically significant changes, all groups presented values above the cutoff points for mental health (>15). In addition, statistically significant changes were found for age (years) (p=0.002), menarche (p=0.004), career duration (p=0.001), height (m) (p<0.001), body mass index (p=0.018), waist-height ratio (p<0.001), %fat (p=0.020), VO2peak (p=0.020), 1RM of knee extension (p=0.031) and elbow flexion (p=0.001), flexibility (p<0.001) and mets.min.vigorousfa (p=0.008) and mets.minsum (p=0.014). Conclusion: The professions analyzed do not seem to interfere with the physical and metabolic health of the girls evaluated. However, for mental health, the age group assesses showed itself susceptible to depressive symptoms.

Submitted by Marlene Aparecida de Souza Cardozo (mcardozo@pucsp.br) on 2018-06-18T13:52:36Z No. of bitstreams: 1 ROBERTO WAGNER PEREIRA.pdf: 23449968 bytes, checksum: e85ac16e6d02384c454ac83e99ce896f (MD5) / Made available in DSpace on 2018-06-18T13:52:36Z (GMT). No. of bitstreams: 1 ROBERTO WAGNER PEREIRA.pdf: 23449968 bytes, checksum: e85ac16e6d02384c454ac83e99ce896f (MD5) Previous issue date: 2002-06-18 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This work aims at mapping the elements which were responsible for the idea of a Brazilian ballet taking into consideration both its formation and its thematic aspects. In order to do that, journalistic critics of dance have been elected as its main feature, observing how their especialization was directly connected to the especialization of Brazilian groups Who were anxious to create their ballet. The City of Rio de Janeiro, then the nation's capital, was the stage where the first steps towards the creation of a Brazilian ballet took place still during the first half of the 20th century. This fact coincided with a period in history known as Estado Novo (The New State), which impregnated the construction of this ballet with a sense of ufanistic Brazility, present in the political ideology of that time. Journalistic critics, for their turn, contributed directly to this construction, for they analyzed ballet presentations in the opening seasons from the standpoint of the New State ideology. Therefore, this work has mapped all critiques from major newspapers at the time, and has tried to unravel how the idea of Brazility developed in the dialogue between ballet and the press / Este trabalho tem como objetivo mapear os elementos responsáveis pela idéia de um balé brasileiro, tanto no que diz respeito à sua formação quanto aos seus aspectos temáticos. Para tanto; elegeu a crítica jornalística de dança como seu principal elemento, observando como sua especialização estava diretamente ligada à especialização dos corpos brasileiros que ansiavam por criar seu balé. A cidade do Rio de Janeiro, então capital federal, foi o palco onde os primeiros passos no sentido de uma criação de um balé brasileiro foram dados, ainda na primeira metade do século XX. Tal fato coincidiu com o período conhecido como Estado Novo, o que fez impregnar a construção desse balé de um sentido de brasilidade ufanista, tão presente na ideologia política da época. A crítica jornalística, por sua vez, contribuiu de forma direta nessa construção, na medida em que analisava os balés apresentados nas primeiras temporadas a partir de um olhar comprometido com a ideologia estadonovista. Nesse sentido, este trabalho mapeou todas as críticas dos principais jornais da época, e procurou desvendar no diálogo entre balé e imprensa como a idéia de brasilidade foi ali desenvolvida

O balé Agon é considerado o ápice da produção conjunta entre Stravinsky e o coreógrafo russo George Balanchine, e sua concepção foi repleta de descontinuidades. As ideias iniciais que motivaram a composição do balé datam de 1948, entretanto, Stravinsky começou a esboçar os primeiros rascunhos somente no final de 1953 e concluiu a obra, após algumas interrupções, em meados de 1957. Durante os anos de criação do balé, Stravinsky operou mudanças significativas em seu processo composicional, alguns movimentos remetem ao diatonismo de seu período neoclássico, enquanto outros são construídos a partir de elaborações seriais, desenvolvidas pelo compositor após o início da década de 1950. Este trabalho expõe os diferentes aspectos envolvidos na concepção do balé e, através da análise dos processos composicionais presentes na obra, busca determinar pontos de conexão em meio às referências díspares estabelecidas no diálogo entre música e dança. / The ballet Agon is considered the apex of the partnership between Stravinsky and the russian choreographer George Balanchine, and its creation was full of discontinuities. The initial ideas that motivated the composition of the ballet came up in 1948, but only in the end of 1953 Stravinsky began sketching the first drafts, and then in 1957, after some interruptions, he completed the work. During this years, Stravinsky made significant changes in his compositional process, some movements refers to the diatonicism of his neoclassical period, while others are constructed from serial elaborations, all of them developed by the composer after the 1950s. This dissertation expounds the several different aspects about the creation of the ballet and through the analysis of the compositional processes in the work, it attempts to determine the connection among the disparate references established in the dialogue between music and dance.

Marco y Luis Ángel son dos jóvenes que residen en el cono Nor oeste y Nor este de Lima; ambos estudiantes de la Escuela Nacional Superior de Ballet del Perú, se agencian profesionalmente del ballet como tecnología corporal hegemónica, y la combinan con otras tecnologías de manipulación de los cuerpos; luego, las procesan y ejecutan sus performances elaborando propuestas artísticas diferenciadas que traducen formas particulares de entender la realidad. El siguiente informe de trabajo ubica al proceso productivo de los cuerpos danzantes como el elemento central de análisis. Este proceso tiene dos fuentes primordiales; la primera lo constituye la tecnificación cotidiana de los cuerpos y, la segunda, lo constituye la formación institucionalizada. Asimismo, es el resultado de un proceso de investigación que involucró la realización de un video documental donde se expone cómo el ballet junto a otras tecnologías corporales densifica la capacidad de respuesta de los cuerpos de nuestros personajes para responder a las exigencias cotidianas para satisfacer las demandas de públicos diversos; más aún, estas presencias como actores sociales la concretan en una combinación fluida entre escenarios formales e informales. De esta manera adopto como base metodológica de la investigación a las historias de vida; por lo que, la recopilación de la información se produce en un continuo seguimiento a estos jóvenes registrando audiovisualmente los diversos espacios por donde se desplazaban o transitan. En diversos ámbitos de sus vidas Marco y Luis se encuentran influenciados o exigidos por mostrar una plasticidad que les permite probar o descubrir otro tipo de disciplinas o espacios en donde su cuerpo es reinventado, afectado desde otras experiencias corporales. Es decir, El ballet le brinda herramientas que son aprendidas, practicadas e internalizadas; para luego, ser deconstruidas o reintrepretadas para sus intereses particulares. / Tesis

Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles. / Les trois ballets grecs de Stravinsky et de Balanchine s’unissent autour de l’agonisme − qui trouve son origine dans l’agôn, en grec « lutte » − que nous définissons comme étant la conciliation entre l’apollinien et le dionysiaque. Nous tentons de montrer comment le ballet manifeste la recherche d’un équilibre entre les qualités apollinienne et dionysiaque, essence même de la trilogie, par sa représentation et sa dramaturgie. Nous proposons pour cela une méthodologie afin d’étudier la coexistence des arts. Un mémoire sur les écritures du mouvement est joint à la thèse. Il part d’une réflexion menée sur les supports matériels qui conduisent au ballet – enregistrements vidéo, DVD, dessins, photographies, captures d’écran, dessins, partitions chorégraphiques, initiées dans ce travail. En dégageant la signification profonde de la trilogie, nous en proposons une interprétation et une production nouvelles.

Examining a group of pictures painted in the early-to-mid 1630s, this dissertation sets out to demonstrate that Nicolas Poussin’s turn to the subject of dance helped him transform his style from the sensuous Venetian manner of his early years to the cool, crisp, relief-like approach that would characterize his mature work and form the basis for French Classicism in subsequent decades. Painting dancers allowed Poussin to work through the problem of arresting motion, to explore the affective potential of the body represented, and to discover a measured, geometric compositional method capable of containing and harnessing that potential. The resulting pictures, painted in Rome, were warmly received in Paris by a group of early collectors that included dancers, patrons, amateurs, and theorists of another modern French art: the ballet de cour. Ballet’s cultivation of a fiercely controlled physicality, its wild Dionysian characters and learned Apollonian conceits, above all, its insistence on a hidden geometric order underlying the chaos of embodied experience primed early French observers of Poussin’s dancing pictures to recognize something of themselves in his new approach. Though Poussin did not set out to define French Classicism, and though his brief service as premier peintre to Louis XIII demonstrates how ill-suited he was to the role of official artist, the fact that his dancing pictures shared so much—on the level of patronage, iconography, even, perhaps, theoretical underpinnings—with the ballet de cour may help explain why these works (and, indeed, Poussin himself) were so eagerly appropriated by France in the Classical Age.

Against the backdrop of the 1933 and 1959 Cuban Revolutions, dance became highly politicized as performers interacted with the state and expressed ideas choreographically about race, gender, and social change. Starting in the 1930s, citizens invested in ballet as a means for cultural progress. In the 1940s and 1950s, a growing cadre of ballet professionals and their supporters advocated for the government to subsidize the form. Simultaneously, carnival, cabaret, and concert dancers sparked widespread discussion about nation and racial formation, specifically the place of blackness and whiteness in Cuba. As a result, performers and patrons established the political valence of dance as means for reflecting on larger questions about self and society. After 1959, dancers adapted to the regime change while pursuing longstanding projects. Ballet dancers performed aggressive choreography in fatigues, along with traditional ballets from Europe and Russia, as part of their revolutionary repertoire. Dance teachers built upon previous pedagogical efforts and contributed to new social engineering projects to “improve” Cuban youth. In parallel, modern and folkloric dancers choreographically critiqued patriarchy and race relations in a supposedly post-racial society. These performances developed a Cuban way of dancing and watching dance, the latter characterized as engaged and talkative. Dancers and publics built a vibrant establishment that eventually transcended national borders with Cubans dancing and teaching abroad in the 1970s and 1980s. Meanwhile, dancers contributed to the growing tourist industry and pushed for institutional changes at home in the late 1980s. In 1990, Cuba entered a crisis that destabilized the relationship between dance and politics that had developed over the previous six decades. During this period, different dance forms including cabaret, carnival, ballet, modern dance, and folkloric dance received various levels of public and state support. I argue that there were important continuities in dance hierarchies with ballet holding the greatest cultural and political capital starting in the 1930s. I also contend that dancers of different genres employed similar tactics to navigate sociopolitical shifts and expressive parameters across the decades. They consistently shaped dance institutions and asserted the value of their work to revolution and nationhood. This social and cultural history of Cuban dance sheds light on the reach and limitations of state power in Cuba as numerous constituencies engaged with the revolution, maneuvering for agency within a limited public sphere.

A presente pesquisa teve como objetivo compreender a naturalização do corpo cênico demandado pelo balé clássico. Buscamos investigar como se constrói a naturalização do corpo cênico, expressivo, no balé clássico, uma vez que o mesmo é pensado, pelos bailarinos pesquisados, como algo que é próprio do (a) bailarino (a); como um dom. A partir de uma abordagem metodológica qualitativa, utilizamos como técnicas de investigação a observação de espetáculos de balé e entrevistas semiestruturadas com bailarinos (as) clássicos (as) brasileiros (as), que apresentaram anos de atuação e que possuíam a técnica incorporada. As trajetórias profissionais foram distintas. Alguns desses bailarinos dançaram, por exemplo, balés de repertório completos, outros dançaram variações dessa modalidade. Alguns deles escolheram a profissão de professor (a) de balé, outros, são profissionais em companhias de dança no país, mas todos os entrevistados participaram de festivais de dança. Como resultado de pesquisa, destacam-se os seguintes aspectos: o corpo pleno de quem dança balé clássico; um corpo que já possui uma técnica explícita e implícita, incorporadas. Essas técnicas configuram uma aprendizagem, que se dá por meio da reprodução e imitação de trejeitos de bailarinos renomados, vistos como modelo e inspiração para os bailarinos entrevistados. São assim imitados aspectos que consideram adequados à cena. Ao mesmo tempo, os bailarinos buscam na própria vida, nas emoções do cotidiano, a inspiração e as sensações que possam ser externalizadas na cena. Para os indivíduos pesquisados, ser artista no balé clássico articula-se à ideia de dom por conta de um aprendizado inconsciente que se dá no cotidiano. Essa noção de dom no balé clássico não é recente, podendo ser vista desde o século XVII, articulada à ideia de liberdade e autonomia artística. Há assim, uma atualização dessa ideia, em outros termos, circunstâncias e percepções / This research aimed to understand the naturalization of the scenic body demanded by classical ballet. We seek to investigate how the naturalization of \"scenic body\", expressive, in classical ballet, since it is thought, researched by dancers, as something that is itself the dancer, as a gift. From a qualitative approach, we used as investigative techniques the observing ballet performances and semi-structured interviews with Brazilian classical dancers who had years of experience and that had the technique in their bodies. Professional trajectories were different. Some of these dancers, danced for example, repertory ballets and others danced variations of ballet. Some of them have chosen the ballet teaching profession others are professionals in dance companies in the country but all responders participated in dance festivals. As search result stand out the following: full body who dance classical ballet; a body that already has a \"explicit technique\" and \"implicit technique, in their bodies. These techniques constitute a learning that takes place through reproduction and imitation of renowned dancers renowned dancers seen as a model and inspiration for dancers interviewed. They are mimicked aspects that they consider adequate to the scene. At the same time the dancers seek in their lives, in everyday emotions, inspiration and feelings that can be placed in the scene. For individuals surveyed, being an artist in the classic ballet articulates the gift idea because of an unconscious learning that occurs in everyday life. This notion of gift in classical ballet is not new, it can be seen from the seventeenth century, linked to the idea of freedom and artistic autonomy. There is an update of that idea, in other terms, conditions and perceptions

Several studies have reported various challenges ballet dancers experience in their performance careers. However, to date, very little research has been done to understand how professional ballet dancers persevere in their performance careers in the face of the demanding nature and various challenges associated with their career. The purpose of this study was to explore perseverance of professional ballet dancers in their performance career from the perspectives of retired professional ballet dancers. Using a social constructivist lens, the research question addressed in this study was: How can professional ballet dancers persevere in a performance career? Narrative interviews were conducted with participants (N = 9) who had danced at one or more professional ballet companies for at least one year and had been involved in the ballet world since their retirement from their performance careers. A thematic analysis was used to analyze the data and 4 themes were identified about persevering as a professional ballet dancer in a performance career: (a) Building and Looking After Your Healthy Sense of Self and Mental Attitude; (b) Navigating Your Career Journey With Intelligence and Courage Within and Beyond One Ballet Company; (c) Growing as an Artist to Have More Than Technique and Raw Physicality to Capture an Audience; and (d) Balancing Your Performance Career by Having a Life Outside the Dance World. Implications of the findings for research, practice, and counselling are discussed. / Graduate / 2020-04-26