The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process. I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.

The purpose of this study was to understand the significance of emotions and the body in the lived creative experience in dance. Using a phenomenological approach, I was interested in gaining a deepened understanding of the creative experiences of members of Canada’s contemporary dance community. Currently, dance is taught in multiple contexts of education including K-12 arts education and physical education, recreational studios, university settings such as in faculties of education, kinesiology, and fine arts, and in conservatory-style pre-professional training programs. As a result, there appears to be little evidence of a holistic pedagogical approach. Coming from a predominantly ballet-oriented dance training background, I wanted to learn what it’s like to create dance; specifically how contemporary dancers use their bodies and emotions as part of their creative process. I had the pleasure of being an invited guest, writer, speaker, and researcher at the 2008 Canada Dance Festival (CDF), a biennial dance festival that takes place in Ottawa, Ontario, Canada. Results shed light on rarely discussed facets of the creative experience in dance. This study explores the way dancers optimally want to feel, how they prepare to feel the way they want to feel, what obstacles they encounter, and what strategies allow them to revisit their optimal feel within their creative experience in dance. Doing so, the role of the body and the emotions in dance are better understood. A description of the 2008 Canada Dance Festival as a transactional space also surfaced. There, the CDF is understood as a place where the art of dance’s perceived meaning and values are discussed, and ultimately negotiated. Finally, results also contributed to an enriched understanding of artistic identity in dance as an ongoing process of becoming. With an enhanced pedagogical understanding of dance education, a final discussion unearths implications of this work and shines a spotlight on future research in dance scholarship.

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.

Since the mid-1970s, researchers in student development theory, research, and practice have examined the experiences of first-year university students with the aim of improving quality of educational life and student motivation to stay in school (Greenfield et al., 2013). First-year students are viewed as vulnerable to attrition as most leavers depart during or immediately following year one (van der Zanden et al., 2018). This is the first doctoral study to explore first-year experience with university Dance majors.The purpose of this study is to illuminate first-year experience in a postsecondary Dance setting through students’ first-person accounts. Research methodology was guided by the applied phenomenology of education scholar and philosopher Max van Manen (1990/2014) and involved my direct participation and observation in two Dance classrooms along with in-depth interviewing of six self-selected students over the entire academic year. Data gathered through these procedures were analyzed for collective and individual meanings. Students’ first-person perspectives are presented in four chapters representing four macro-categories of student experience found in the data: curriculum, faculty, peers, and individual practice. Findings are then discussed in relation to extant literature in student development in higher education, combining sociological, behavioral, and epistemological perspectives from the foundational theories of Vincent Tinto (1975/1993), Alexander Astin (1984/1999), and William G. Perry, Jr. (1968/1999). Students’ first-person experiential accounts extend concepts from these theories, as well as offering insights unique to dance education. From their lived experiences in university Dance, first-year students shared the educational experiences that were significant and meaningful to their learning and growth. These include the affective, cognitive, somatic, and social meanings they made from their experiences of curriculum, faculty, peers, and self. Within a web of academic and social supports, personal self-reflection, and individual meaning-making, first-year students deepened their understandings of their dance practices and of themselves as dance artists and learners. / Dance

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The first part of this study sought to validate the System for Observing Dance Activities in the Classroom Environment (SODANCE) based off the System for Observing Fitness Instructional Time (SOFIT). Female students age 11-17 years (N=42) participated in an activity protocol of SOFIT activities and common dance activities to validate appropriate coding categories. Each student wore a heart rate monitor and accelerometer while participating in the activities lying, sitting, standing, walking, running, single leg balances, leg swings, pirouettes, and leaps. Heart rate, maximum heart rate percentage, heart rate reserve percentage, vertical axis accelerometer counts, and vector magnitude accelerometer counts for each activity were classified as light, moderate, or vigorous. Ultimately heart rate reserve data was determined to be the best indicator of physical activity. The chi squared test was used to determine if there were significant differences in the proportion of subjects whose heart rate reserve data classified the activity as light vs. moderate vs. vigorous. Based upon the heart rate reserve data, each activity was assigned a SODANCE activity code of 1-5. The dance activities were coded as single leg balances 4, leg swings 4, pirouettes 5, and leaps 5. The second part of this study aimed to use the SODANCE instrument to collect data about the physical activity levels, time spent in MVPA, time spent in different lesson contexts, and frequency of teacher promotion of activity. Four different secondary (grades 6-12) dance technique classes (ballet or contemporary) at a public performing arts school were each observed four times using the SODANCE instrument. Students engaged in MVPA 40.62% of the time. Percentages of time spent in SODANCE lesson contents are as follows: management 9.53% (n=280), knowledge 22.29% (n=655), fitness 6.94% (n=204), technique 44.04% (n=1294), choreography 17.19% (n=505), and other 0.0% (n=0). Percentages of teacher interaction are as follows: promotes in-class activity 27.67% (n=813), promotes out-of-class activity 0.27% (n=8), and no promotion 72.06% (n=2117). These data suggests that dance technique classes offer equitable or more MVPA than physical education classes, but still short of the national recommendations.

Made available in DSpace on 2016-07-27T13:52:31Z (GMT). No. of bitstreams: 1 CRISTIANE GOMES DOS SANTOS.pdf: 852680 bytes, checksum: 0200a009c4fdef68151ec99052542fd6 (MD5) Previous issue date: 2008-09-22 / Taking as base, the works of Walter Benjamin (1994) on art of Adorno and Horkheimer (1985) on Cultural Industry, and having as theoretical-metodology referencial the Analysis of French Line Speech (Pêcheux, 1989; Orlandi, 1999), the present study understood in the research line of Education, Society and Culture , tried to apprehend some of the dominant discourse on the education of dance in Brazil. Although in the last ten years the theoretical productions on this thematic have increased considerably, it is necessary to analyze how the conception on art, dance, education, and the teaching of dance has been considered inside such discourses; once their authors integrate different areas of formation. In this direction, this research aims to analyze three theoreticalmetodology matrices about the education of dance in Brazil: Isabel A. Marquez (1999; 2003), Márcia Maria Strazzacappa Hernández (2001; 2006) and Maria do Carmo Saraiva Kunz (2003). This work of bibliographic pointed that the education of dance considered by the three speeches here, however divergent in some points, get to an agreement of the restitution of human sensitivity through the dance education. / Tomando como base os trabalhos de Walter Benjamin (1994) sobre arte e os de Adorno e Horkheimer (1985) sobre Indústria Cultural, e tendo como referencial teóricometodológico a Análise de Discurso de linha francesa (Pêcheux, 1989; Orlandi, 1999), o presente estudo compreendido na linha de pesquisa Educação, Sociedade e Cultura , procurou apreender algumas das discursividades dominantes sobre o ensino de dança no Brasil. Embora nos últimos dez anos as produções teóricas sobre esta temática tenham aumentado consideravelmente, faz-se necessário analisar como as concepções de arte, de dança, de educação e de ensino de dança têm sido consideradas no interior de tais discursividades, uma vez que seus autores integram áreas de formação diferenciadas. Neste sentido, esta pesquisa procura analisar três linhas teórico-metodológicas sobre o ensino de dança no Brasil: Isabel A. Marques (1999; 2003), Márcia Maria Strazzacappa Hernández (2001; 2006) e Maria do Carmo Saraiva Kunz (2003). Este trabalho, de cunho bibliográfico, apontou que o ensino de dança proposto pelos três discursos aqui estudados, embora divergente em alguns pontos, se aproximam de um entendimento da restituição da sensibilidade humana através do ensino de dança.

A tese analisa práticas de dança como componente curricular obrigatório de Arte na educação básica, em escolas públicas no Rio Grande do Sul, Brasil. É produto da pesquisa com seis professoras graduadas em dança. A partir da identificação de tensões provocadas pela prática da dança na escola (construção de currículo, planos de ensino e aulas), a pesquisa problematiza as relações de saber-poder que configuram essas práticas. Identifica que as práticas de dança, ao colocar o corpo (composto, exposto, soma e tátil) como centro do currículo, desestabilizam tecnologias de governo naturalizadas na escola, tais como as operações disciplinares. Analisa diferentes práticas, com ênfase para práticas de composição e estudos labanianos, práticas com perspectiva da educação somática e práticas com presença do toque e do contato. A pesquisadora acompanhou duas semanas de aula de cada professora e realizou entrevistas com as professoras e com um integrante da equipe diretiva de cada escola. Ainda, os dados foram produzidos por registros em diário de campo, áudio, vídeo e fotografia. A produção e análise dos dados tece a perspectiva dos estudos foucaultianos, com saberes artístico-pedagógicos que a autora traz encarnados. A tese identifica a conduta artista das professoras, construída na relação com a escola, e mostra que as práticas se constituem em espaços íntimos a partir dos saberes da dança / This thesis analyses how six dance teachers compose their artistic-pedagogical practices in the formal system of education in the Rio Grande do Sul state, Brazil. Dance is an art subject in the compulsory curriculum in the primary and secondary schools. From the identification of tensions provoked by the practice of dance at school – such as the construction of the curriculum, teaching plans and classes – the study problematises the power-knowledge relations in these practices. The research identifies that dance practices destabilise naturalised technologies of government at school, such as disciplinary operations, through placing the body (composed, exposed, soma and tactile) at the centre of the curriculum. The work analyses different practices, with emphasis on composition, Laban studies, somatic education, touch and contact. The methodology of data production involves participative observation of each teacher's lessons along two weeks, alongside interviewing teachers and members of the management staff. These actions were made through the using of the notebook, audio-recording, video and photographs.The analysis, as well as data production, was made through the articulation of Foucaultian studies with the researcher’s embodied artistic-pedagogical knowledge. The thesis identifies the teachers 'artist conduct' built in the relationship with the school, and shows that practices constitute intimate spaces from the dance knowledge.

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