Zugl.: Graz, Univ., Diss., 2006

Fragestellung und Design Ziel der 6-monatigen Intervention Breakdance im Rahmen von Sport nach 1 war es, Veränderungen bei physischen und psychosozialen Parametern zu betrachten. In einem Kontrollgruppendesign mit drei Messzeitpunkten (t1, t2, t3) wurden quantitative Methoden (motorische Tests, schriftliche Befragung) im Längsschnitt und qualitative Verfahren (mündliche Befragung) im Querschnitt am Ende des Untersuchungszeitraums eingesetzt. Mittels standardisierter Fragebögen wurden die Merkmale sportartspezifische- und allgemeine Selbstwirksamkeit sowie Kooperationsfähigkeit untersucht (Klein-Heßling et.al., 2003). Darüber hinaus wurde der deutsche Motoriktest (DMT6-18) durchgeführt, um die Entwicklung der Merkmale Kraftausdauer im Rumpf- und den oberen Extremitäten, Schnellkraft in den Beinen, Koordination unter Präzisionsdruck sowie Koordination unter Zeitdruck zu betrachten. Ergebnisse und Diskussion Es zeigt sich, dass Kinder durch Breakdance ihre Koordination, insbesondere die Koordination unter Präzisionsdruck, Kraftleistungen, insbesondere die Schnellkraft in den Beinen, sowie die Kraftausdauer in den oberen Extremitäten verbessern können. Längsschnittliche Wirkungen im psychosozialen Bereich zeigen sich bei der sportartspezifischen Selbstwirksamkeit sowie im zweiten Teil des Vergleichszeitraums (t2/t3) bezüglich der allgemeinen Selbstwirksamkeit . Die qualitativen Ergebnisse legen zudem nahe, dass Breakdance zu einer positiven Grundstimmung sowie zu gesteigerter Zuversicht und Leistungsfreude beiträgt. Forschungsbedarf ergibt sich hinsichtlich der Frage der Nachhaltigkeit der Effekte und hinsichtlich der Spezifität des Settings. / Ziel der 6-monatigen Intervention Breakdance im Schulsport im Rahmen von "Sport nach 1" war es, Veränderungen bei physischen und psychosozialen Parametern zu betrachten. In einem Kontrollgruppendesign mit drei Messzeitpunkten wurden quantitative Methoden (motorische Tests, schriftliche Befragung) im Längsschnitt und qualitative Verfahren (mündliche Befragung) im Querschnitt am Ende des Untersuchungszeitraums eingesetzt. Mittels standardisierter Fragebögen wurden die Merkmale sportartspezifische- und allgemeine Selbstwirksamkeit sowie Kooperationsfähigkeit untersucht. Darüber hinaus wurde der Deutsche Motoriktest (DMT 6-18) durchgeführt, um die Entwicklung der Merkmale Kraftausdauer im Rumpf und den oberen Extremitäten, Schnellkraft in den Beinen, Koordination unter Präzisionsdruck sowie Koordination unter Zeitdruck zu betrachten. / Focus and aim The goal of my 6-month study of the effect of incorporating breakdance into physical edu-cation classes (‘Sport nach 1’) was to consider changes to physical and psychosocial pa-rameters. Using a control group approach and measuring results on three occasions (t1, t2, t3), I employed quantitative methods (motor-skills tests, written questionnaires) in my longitudinal study and qualitative methods (oral interviews) in my cross-sectional study at the end of the period of investigation. Using standardised questionnaires, I examined the attributes of general self-efficacy and that related to specific types of sport, plus coopera-tion skills (Klein-Heßling et al., 2003). Furthermore, I conducted motor-skills tests in line with the German standard DMT6-18 to observe the development of stamina in the torso and upper limbs, leg speed, and coordination both under time pressure and when preci-sion is required. Findings and discussion My investigations prove that breakdancing can improve children’s coordination, particu-larly when they need to act with precision, their physical strength, especially their leg speed, and the stamina in their upper limbs. It has long-term effects in psychosocial terms when it comes to self-efficacy relating to specific types of sport and, in the second part of my reference period (t2/t3), to self-efficacy in general. Moreover, the qualitative results suggest that breakdance contributes to a positive underlying mood in each child plus in-creased confidence and an enhanced desire to perform well. Further research is required in relation to the sustainability of these effects and the specific nature of the setting in which the study was conducted.

No description available.

Abstrakt: Det finns professionella kulturarbetare, det finns de som har kulturutövande som hobby och de finns de som befinner sig mitt emellan. Den här uppsatsen undersöker hur det är att vid sidan av sitt inkomstbringande yrke syssla med ett avancerat kulturutövande som innehåller målbilder, karriär och vars resultat når en publik. Undersökningen bygger på kvalitativa intervjuer med sex breakdansare och två musiker. Breakdansarna är undersökningens fokus. Genom att även intervjua musiker blir breakdancekulturens egenheter tydligare. För att förstå breakdancekulturens specifika sätt att fungera och dess förhållande till andra delar av samhället har jag använt Pierre Bourdieus teori om det sociala rummet. För att få verktyg till en analys av kulturutövandets betydelse för självidentiteten har jag använt Anthony Giddens identitetsteori. Jag fann fem värderingar som strukturerar breakdancefältet: betydelsen av att vara ”självgjord”, breakdance som en fri dans från gatan, att synas, att ha originell stil som ändå är rätt stil samt självförverkligande genom stolthet. Dessa fem värderingar går inte att skilja åt utan beror av varandra och de harmoniserar med fältets position i samhället. Kulturutövandet är avgörande för informanternas självidentitet. Informanterna balanserar det som de upplever som det vanliga trygga livet med det kontrasterande kulturutövandet. Informanterna vill inte ha kulturutövandet som inkomstbringande yrke eftersom de vill slippa kompromissa med sitt skapande samtidigt som de vill ha tryggheten som det vanliga livet erbjuder. Även informanternas historia, nu och föreställda framtid påverkar valet. Breakdansarnas val skiljer sig från musikernas eftersom breakdancefältet inte är professionelliserat. Men även om breakdancefältet befinner sig vid sidan av kulturetablissemang, näringsliv och kulturpolitik påverkas och förändras breakdancefältet i relationerna till dessa.

Universiẗat, Diss., 2006--Graz.

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No. of bitstreams: 3 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Parcial (Cap. I) - Richardson Revisada.pdf: 939227 bytes, checksum: c95142a47d885a663c38bc775ae3d37b (MD5) Reprodução Não Autorizada.pdf: 47716 bytes, checksum: 0353d988c60b584cfc9978721c498a11 (MD5) Previous issue date: 2016-07-19 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Breakdance is one of Hip Hop four elements, originated in the United States, under the form of alternative identity, as reaction to conflicts racial, political and of gender in the second half of the decade of 1970. In Brazil, it is diffusion began for the streets of the center of São Paulo, at the beginning of the decade of 1980, and it has spread for all of the states of the Federation, transmitted in commercials on TV, films and openings of soap operas and music that were spread in radios of almost the whole country. Starting from 1983, under the pulse of the North American cultural industry, a part of the youth from Manaus hugged that new form of corporal expression, apparatuses of cultural diffusion in the local media were also part of this process, personified in programs of foreign singers' dubbings and dance contests. The decade of 1980, also known by the redemocratization movements in Brazil, it also went here occasion to sensitive social changes in Manaus. Among these changes, it is noticed that a portion of youths of moved away downtown neighborhoods was if approximating in new ways of holding, of dressing and of using the body as vector of social transgression. This didn't happen without they suffered reprisals arrivals of all of the directions: of the family breast, of the work and even of other social groups that they enjoyed larger acceptance for the society. That fact is proven through the reports and iconographic material here collected gathered and organized. Through these sources, a representation of the social world can be had in which were inserted, such as; the local political panorama of the studied time, the social inequality, the economic crises, and even the situation of the protagonists' home in subject. For they live in atmosphere socially unstable and unfavorable economically, the called breakistas of the decade of 1980 and 1990 had an ambivalent relationship with the neighborhood of their neighborhoods, because hour they were rejected as unoccupied, hour they were received as artists to the if they present in community shows or programs of local TV, as the Club of the 4 and it Programs Beto of Paula. In spite of the faced problems, the breakistas got important popularization spaces, arriving even coming in the Teatro Amazonas, among the years of 1988 and 1992, helping to publish Breakdance for a public different from the usual, in the city of Manaus. / O Breakdance é um dos quatro elementos do Hip Hop, originado nos Estados Unidos, sob a forma de identidade alternativa, como reação a conflitos raciais, políticos e de gênero na segunda metade da década de 1970. No Brasil, sua difusão começou pelas ruas do centro de São Paulo, no começo da década de 1980, e alastrou-se por todos os estados da Federação, veiculado em comerciais de TV, filmes e aberturas de novelas e músicas que eram propagadas em rádios de quase todo o país. A partir de 1983, sob o impulso da indústria cultural norteamericana, uma parte da juventude de Manaus abraçou aquela nova forma de expressão corporal, aparatos de difusão cultural na mídia local também fizeram parte deste processo, personificados em programas de dublagens de cantores estrangeiros e concursos de dança. A década de 1980, também conhecida pelos movimentos de redemocratização no Brasil, foi ocasião para sensíveis mudanças sociais também aqui em Manaus. Dentre estas mudanças, percebe-se que uma parcela de jovens de bairros mais afastados do centro da cidade foi se aproximando de novas maneiras de se comportar, de se vestir e de usar o corpo como vetor de transgressão social. Isto não aconteceu sem que sofressem represálias vindas de todas as direções: do seio familiar, do trabalho e mesmo de outros grupos sociais que gozavam de maior aceitação pela sociedade. Esse fato é comprovado por meio dos relatos e material iconográficos aqui recolhidos reunidos e organizados. Através destas fontes, pode-se ter uma representação do mundo social no qual estavam inseridos, tais como; o panorama político local da época estudada, a desigualdade social, as crises econômicas, e até mesmo a situação de moradia dos protagonistas em questão. Por viverem em ambiente socialmente instável e desfavorável economicamente, os chamados breakistas da década de 1980 e 1990 tinham uma relação ambivalente com a vizinhança de seus bairros, pois hora eram rechaçados como desocupados, hora eram recebidos como artistas ao se apresentarem em espetáculos comunitários ou programas de TV locais, como o Clube do 4 e Programa Beto de Paula. Apesar dos problemas enfrentados, os breakistas conseguiram importantes espaços de divulgação, chegando até mesmo a se apresentar no Teatro Amazonas, entre os anos de 1988 e 1992, ajudando a divulgar o Breakdance para um público diferente do usual, na cidade de Manaus.

This thesis examines two examples of martial dance theatre: Mika HAKA performed by Torotoro (New Zealand), and The Sound of Silence performed by Samudra (India). Both productions were created for international touring, and this thesis looks at their performance at the Edinburgh Fringe Festival (UK). The companies’ choreography integrates native and foreign dance with their hereditary martial arts. These disciplines involve practitioners in displays of prowess that are also entertaining spectacles. They have an expressive dimension that makes them contiguous with dance – a potential that Torotoro and Samudra exploit. The companies address their audiences with combative and inviting movements: Torotoro juxtapose wero and haka (Māori martial rites) with breakdance; Samudra combine kaḷarippayaṭṭu (Kerala’s martial art) with bharatanāṭyam (South Indian classical dance). Their productions interweave local movement practices with performance arts in global circulation, and are often presented before predominantly white, Western audiences. What is created are performances that are generically unstable – the product of cultural interactions in which contradictory agendas converge. In its largest scope, martial dance theatre might include military parades and tattoos, ritual enactments of combat, and folk and classical dance theatre. These performances propagate images of idealised men that create statements of national and cultural identity. They, and the martial disciplines they theatricalise, are also implicated in the performative construction of gender, ethnicity and race. Torotoro and Samudra’s performances, influenced by queer and feminist agendas, offer insights into martial dance theatre’s masculinist potential, and its contribution to the intercultural negotiation of identities. Prominent European theatre practitioners have sought to employ the martial arts to develop Western performers. If these culturally specific disciplines are expressive and performative disciplines, then what are the implications and complications of this transcultural project?

Denna studie behandlar tidig hip-hop-film från 80-talet och dess kreativa uttryck genom hip-hop- kulturens fyra grundelement, där en slutsats är att graffiti, breakdance, DJ-ing och rap är av yttersta vikt i bildspråket, och audiellt. Att elementen inleder filmerna visar vilken betydelse dessa har och vidare samverkar de på varierande vis, vilket förstärker den enhet som finns med i filmernas budskap. Enhet och kreativitet är centralt i filmerna och budskap om att möjligheter, framgång och framtid ligger i dem är tydliga. En annan slutsats är att elementen och diverse troper repeteras och sprids vilket stärker hip-hop och hip-hop-film som varumärke.

The general aim of this research is the development of categories and codes (according to Saldaña's terminology, 2009) of the uses, functions and properties of the floor in dance. We have followed a methodology based on the qualitative analysis of a video corpus of dance works that were selected representive of a specific language (classical, modern and new dance) or as belonging to a particular historical moment (our research ranges from the end of the 19th century to the present), although some choreographies have also been included due to their contribution to the use of the floor in dance. In addition, this selection has been restricted by the availability of the works in video format. The final list of the works we have been analysing makes a total of 295 choreographies, 11 of which have been examined in depth so as to develop a qualitative codification. Once the categories had been established, the different aspects of the corpus of dances could be finally described and, in each category, the codes, which are the values of the dances, were also constituted. From the video-based qualitative analysis we propose different categories, grouped into three meta-categories focusing on the body techniques, the characteristics of the ground/floor, and the representation. / El objetivo general de esta investigación es el desarrollo de categorías y códigos (según la terminología de Saldaña, 2009) de los usos, funciones y características del suelo en la danza, por lo que hemos seguido una metodología basada en el análisis cualitativo de un corpus de videos de obras dancísticas, seleccionadas por ser representativas de un lenguaje concreto (clásico, moderno y new dance) o por pertenecer a un momento histórico determinado (nuestra investigación parte desde finales del siglo XIX y llega hasta la época actual), aunque también hemos incluido algunas coreografías que consideramos relevantes por su aportación respecto al uso del suelo. Esta selección también se ha visto condicionada a la disponibilidad en formato video de las obras. El listado final de obras sobre las que hemos trabajado ha sido del orden de 400 coreografías, de las cuales 11 han sido analizadas en profundidad para desarrollar la codificación cualitativa, estableciendo unas categorías de análisis que han permitido describir los diferentes aspectos del corpus de danzas, y en cada categoría, establecer unos códigos que son los valores que pueden adquirir las danzas. Este trabajo de visionado ha tenido como resultado del análisis cualitativo diversas categorías, y nos hemos centrado en las relativas al cuerpo, a las propiedades del suelo para la danza y a la representación.. / Aquesta investigació te com a objectiu el desenvolupament de categories i codis (segons terminologia de Saldaña, 2009) dels usos, funcions i caracterítiques del sòl a la dansa, per la qual cosa hem seguit una metodologia d'anàlisi qualitativa d'un corpus de vídeos de dansa, seleccionats perquè són representatius dels diferents llenguatges (clàssic, modern i new dance) o perquè pertanyen a un moment històric determinat (la nostra investigació s'inicia a finals del segle XIX i arriba fins a l'època actual), encara que també hi hem inclòs algunes coreografies que considerem rellevants per la seua aportació a la dansa en l'ús del sòl. La selecció s'ha vist condicionada a la disponibilitat de les obres en format vídeo, essent un total de vora 295 les coreografies analitzades, de les quals 11 han estat treballades en profunditat per al desenvolupament de la codificació qualitativa, constituïnt unes categories d'anàlisi que han permés descriure els diferents aspectes del corpus de danses, i establint a cada categoria uns codis com a resultat dels valors que les danses poden adquirir. Aquest treball de visionat presenta, com a resultat de l'anàlisi qualitativa, diverses categories, i la nostra investigació s'ha centrat en les que són estrictaments corporals, les referides a les propietats del sòl en relació a la dansa i les de la seua representació. / Arnal Rodrigo, RV. (2017). El suelo en la danza: uso del cuerpo y propiedades del soporte [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90449