Thesis (Ed.D.)--Boston University / The purpose of this study is to construct an instrument to measure objectively locomotor response to rhythmic auditory stimuli. This purpose will be considered accomplished if the instrument distinguishes between members of the study groups; if, as evidence of its validity the results obtained from measuring groups of untrained, trained amateurs, and professional dancers reflect the obvious difference in the rhythmic skill of these groups.

Pastaruoju metu vis daugiau suaugusiųjų pasirenka šokio mokymąsi ir kaip laisvalaikio praleidimo bei savęs tobulinimo formą, ir kaip būsimąją profesiją. Nors ir suaugusiųjų mokymas(is) yra gana plačiai išnagrinėtas Lietuvos mokslinių darbų autorių, tačiau nėra atlikta tyrimų suaugusiųjų šokio mokymo(si) klausimu. Išryškėja tyrimo problema, kaip efektyviau organizuoti suaugusiųjų šokio mokymo ir mokymosi procesą, siekiant įgyvendinti neformaliojo suaugusiųjų švietimo tikslus. Tyrimo objektas – suaugusiųjų šokio mokymas(is). Tyrimo tikslas – nustatyti neformalaus suaugusiųjų šokio mokymo(si) ypatumus. Atlikus temai aktualios literatūros analizę išsiaiškinta, kad suaugusiųjų mokytojo siekiamas tikslas – visokeriopai padėti besimokančiajam prisiimti atsakomybę už savo mokymąsi. Pagrindinės suaugusiųjų mokymosi ypatybės yra asmeninės charakteristikos, didėjantis besimokančiojo savarankiškumas, patirtis, pasirengimas mokymuisi ir motyvacija. Suaugusiojo asmenybę apibūdina psichologiniai, fiziologiniai, juridiniai ar socialiniai požymiai, o psichologiniai pokyčiai yra susiję su asmenybės raidos stadijomis. Psichologinėje plotmėje šokis padeda pasąmonėje glūdinčius dalykus perkelti į sąmonės lygmenį, o palaipsniui didėjant judesio ir kūno saviraiškai, didėja ir psichologinių pokyčių galimybės, nyksta išankstinės nuostatos, kategoriški įsitikinimai, atsiranda naujas požiūris ir nauji vertinimo kriterijai. Interviu su šokių mokytojais metu paaiškėjo, kad organizuojant neformalaus... [toliau žr. visą tekstą] / Recently, an increasing number of adult choose learning dance as a pastime form of self-development or as a future profession. Though adult education is a fairly broad considered with Lithuanian authors, but there is no research done in adult dance training. So the problem of research is how to efficiently organize the dance of adult teaching and learning process to achieve the objectives of non-formal adult education. The object of research – adult dance training. The aim of research – to establish characteristics non-formal adult dance training. After literature analysis it is clear that the aim of adult teachers is to help the learners to take responsibility for their learning. The main features of adult learning is a personal characteristics, increasing autonomy or learner, readiness for learning and motivation. The personality of adult characterizes psychological, physiological, legal, or social characteristics and psychological changes related to personal development phases. In psychological context, dance helps to move subconscious things to the level of consciousness. In a gradual increase of body movement and self-expression increases the possibility of psychological change, disappears prejudices, new opinion and criteria nascent. Interviews with dance teachers revealed that dance teacher introduces learners to the curriculum and objectives of studies. Commonly used methods for teaching dance show, explanation, repetition, and watching video footage analysis... [to full text]

Dance faculty in higher education have various backgrounds and training ranging from professional dance careers to doctoral degrees in dance. This study sought to examine the ways background and training impact faculty members‟ pedagogical approach to a dance technique class in a higher education dance department. This study examined the pedagogical knowledge, content knowledge, and pedagogical content knowledge of participants through qualitative methods including interviews, observations, and document analysis. Six major themes emerged from the data: desire to teach, teaching focus, challenging students, planning and preparation, instructional methods, and assessment strategies.

This practice-as-research project (a) invents, examines and self-reflects upon two techniques - 'Whirling in Pain' and 'Neurobreathing' - that the author has developed for dealing with pain in performance, (b) creates a framework for the qualitative analysis of pain retraining techniques by conducting an interdisciplinary study of the parameters that describe Somatic Practices and the psychology of Altered States of Consciousness, (c) establishes a taxonomy and classifications for describing and assessing techniques of pain management in the performing arts, (d) qualitatively assesses the training techniques of three practitioners —Antonin Artaud, Jerzy Grotowski and Marina Abramović—who have used Somatic Practices and Altered States of Consciousness in their techniques, and draws out patterns and themes in their practice, (e) distils generic principles of practice that are essential for training pain perception and could be used by other practitioners for developing their own techniques, or to better embody the techniques that the author has developed. These transferable principles are: reinforcement, exhaustion of pain-processing resources, inquisitive modes towards otherness, embodied knowledge, surrendering, Sisyphean reiteration, and music’s capacity for fascination. This dissertation considers the issue of dealing with pain in performance beyond the limited area of theatre pedagogy, suggesting an interdisciplinary approach and expanding its scope into the wider realms of theoretical discourse around culture and pain. This dissertation argues that since pain is not only a biochemical process but one that is culturally constructed, it is therefore possible to retrain or un-train the perception of pain through the facility of Somatic Practices that induce Altered States of Consciousness. Such retraining of pain perception has wider socio-political ramifications that challenge the pervading modern and neoliberal culture around pain, which understands it only through a reductively biological model and relies heavily on the use of exogenous analgesics to alleviate pain. Finally, this dissertation proposes that dealing with pain is possible not only by transcending and moving attentional focus away from pain, but also by entering a plane of immanence, achieved through working synergistically with pain in order to find the coping mechanisms and hidden reserves that lie dormant within the individual. The practical element of this submission consists of: (a) a Manual for Practitioners that describes the techniques step-by-step, and explains the principles behind them, and, (b) two performance videos that exhibit how the author has used the two techniques to create and manage pain within performances.

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Annotation: This thesis aims to reveal to the general public, what dance is in the eyes of professional dancers, and to recommend ballroom dancing as one of the very good ways to meaningfully use their free time. The aim is to find out how pupils and students under 20 years of age spend their free time and how they perceive dance as a leisure activity. This work is divided into theoretical and empirical part. In the theoretical part, I explain the concept of free time and the importance of meaningful use of it. Further, I detail the history of dance, which shows why people started to dance and what it yields to them. The theoretical part also includes information about the dance sport, institutions providing dance training, sports nutrition, and also the fact that dance can help and heal. The empirical part is devoted to questionnaires measuring how much of their free time children spend on dance activities, and guided interviews with professional dancers who let us peek into their dance world. These dancers will answer the questions: why dancing became their way of life, what positives and negatives it brings, what is so beautiful and liberating about the dance, and also why a place called Blackpool is often mentioned in the dance environment.