Thesis (M.S.)--University of Wisconsin--Madison, 1984. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 72-73).

The thesis constitutes an examination of contemporary dance in the 1990s in Greece as exemplified in the case of three dance companies - SineQuaNon, Oktana Dancetheatre and Edafos Company – major exponents of the bourgeoning dance scene of that time. The focus is on a particular historical moment, the year 1995, and on three choreographies – ProsOlotoixos [Tour de Force] by Apostolia Papadamaki (SineQuaNon), Daphnis and Chloe by Konstantinos Rigos (Oktana Dancetheatre) and Enos Leptou Sigy [One Moment of Silence] by Dimitris Papaioannou (Edafos Company) - as indications of the vitality of contemporary dance of the times which caused major changes in dance policy. The main hypothesis is that contemporary dance of the 1990s became a site where ideas of change and renewal, pertinent in social milieu became embodied, but at the same time, the companies proposed alternative notions of community, cosmopolitanism and gay identities. The three cases reveal the complex interplay between dance and its social, political and historical context, centering on processes of modernisation of the country and cultural discourses. The thesis explores the emergence of a new generation of artists who negotiated and captured aspects and tensions of the process of modernisation and connected their practices to new artistic identities in accordance with the changing context. The research has been influenced by recent efforts outside Greece to re-examine dance in its social, historical and economic context and to bring the body into historical and contemporary analyses of culture. This methodology highlights the web of power within which contemporary dance was involved, and following post-structuralist critique of history, examines dance history, not as a linear progressive development but through a re-negotiation of power balances between discourses, bodies and institutions.

Thesis (M.A.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 46-47). / iii, 47 leaves, bound 29 cm

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / O presente trabalho tem como objetivo geral analisar as concepÃÃes de aprendizagem em companhias cearenses de danÃa. Para isto, estabeleceram -se os seguintes objetivos especÃficos: 1) investigar a referÃncia de aprendizagem em companhias cearenses de danÃa; 2) analisar o processo de aprendizagem em companhias cearenses de danÃa; 3) descrever os contextos de aprendizagem em companhias cearenses de danÃa; e, 4) identificar os fatores influenciadores da aprendizagem em companhias cearenses de danÃa. Foram utilizadas como referÃncia teÃrica as concepÃÃes de aprendizagem proposto por Basto (2013) e fatores influenciadores da aprendizagem por Caldeira e Godoy (2011). Quanto aos aspectos metodolÃgicos, o estudo apresenta natureza mista; exploratÃrio-descritivo; documental e de campo por meio do estudo de caso mÃltiplos em quatro companhias cearenses de danÃa, a saber: Companhia Dita e Companhia VatÃ, em Fortaleza; Paracuru Companhia de danÃa, em Paracuru; e, a Companhia Balà BaiÃo de danÃa contemporÃnea, em Itapipoca. Foram realizadas entrevistas semi-estruturadas com nove profissionais de danÃa e questionÃrio construÃdo em escala de Likert com 24 respondentes. A anÃlise dos dados seguiu as etapas da anÃlise de conteÃdo para os dados qualitativos e a utilizaÃÃo do software SPSS versÃo 21 para tratamento dos dados quantitativos. Os resultados indicaram que a referÃncia de aprendizagem converge com a concepÃÃo teÃrica de Senge (1990;2003) ao relacionar aprendizagem com ao desenvolvimento pessoal, à influÃncia de modelos mentais de cada indivÃduo, ao compartilhamento de objetivos, ao trabalho grupal e pensamento sistÃmico; e a de Kolb (1984) por relacionar a geraÃÃo do conhecimento atravÃs da experiÃncia. Quanto ao processo de aprendizagem verificou-se a sequÃncia de seis etapas: identificaÃÃo; observaÃÃo; reflexÃo; memorizaÃÃo; execuÃÃo e compartilhamento. Confirmou-se que os contextos de aprendizagem em companhias cearenses de danÃa se iniciam ainda na infÃncia, sendo aprimorado em instituiÃÃes de ensino em danÃa a partir da integraÃÃo com bailarinos profissionais. Por fim, os questionÃrios evidenciaram alto nÃvel de concordÃncia com os seguintes fatores que influenciam a aprendizagem: tolerÃncia aos erros (66,7%); igualdade de poder e responsabilidade (83,3%); comprometimento (95,8%); incentivo à mudanÃa e inovaÃÃo (75%); visÃo sistÃmica que inclui compartilhamento (58,3%) e interaÃÃo externa (87,5%); comunicaÃÃo eficaz (75%), estrutura organizacional descentralizada (54,2%) e lideranÃa eficaz (62,5%). Desse modo, conclui-se que o presente estudo se constitui como um contributo para o desenvolvimento de conhecimentos sobre as concepÃÃes de aprendizagem em organizaÃÃes criativas. / This work has as main objective to analyze the learning concepts in dance companies in CearÃ. For this, the following specific objectives were established: 1) to investigate the learning reference in dance companies in CearÃ; 2) to analyze the learning process in dance companies in CearÃ; 3) to describe the learning contexts in dance companies in CearÃ; and 4) to identify the factors that influence learning in dance companies in CearÃ. Were used as theoretical reference the learning concepts proposed by Basto (2013) and factors that influence learning by Caldeira and Godoy (2011). In the methodological aspects, the study of a mixed nature; exploratory-descriptive; documentary and field through the study of multiple case in four dance companies in CearÃ: Dita Company and Company Vata, in Fortaleza; Paracuru Company of Dance, in Paracuru; and, the Company Ballet BaiÃo of contemporary dance in Itapipoca. Semi-structured interviews were conducted with nine dance professionals and questionnaire built in Likert scale with 24 respondents. Data analysis followed the steps of content analysis for qualitative data and the use of SPSS version 21 for treatment of quantitative data. The results indicated that learning reference converges with the theoretical concept of Senge (1990; 2003) by linking learning with personal development, the influence of mental models of each individual, to share goals, the group work and systems thinking; and Kolb (1984) by relating the generation of knowledge through experience. As for the process of learning the sequence of six steps was found: identification; observation; reflection; memory; implementation and sharing. It was confirmed that the learning contexts in dance companies in Cearà will still begin in childhood, being improved in educational institutions in dance from the integration with professional dancers. Finally, the questionnaires showed high level of agreement with the following factors that influence learning: tolerance to errors (66.7%); equal power and responsibility (83.3%); involvement (95.8%); encouraging change and innovation (75%); systemic vision that includes sharing (58.3%) and external interaction (87.5%); effective communication (75%), decentralized organizational structure (54.2%) and effective leadership (62.5%). Thus, it is concluded that the present study is as a contribution to the development of knowledge about learning concepts in creative organizations.

Professional dance companies which reflect a Christian worldview are slowly emerging within the dance community, but this is territory which is generally uncharted academically, especially in Australia. Consequently, this paper is an ethnographic study of an Australian professional dance company of this kind. ask dance theatre is a professional dance company located in Sydney. Established in February 1999, it has three key personnel - Phillippa-Oakden Patch (artistic director/ choreographer/dancer), Hannah Horsley Cooper (choreographer/dancer) and Steve Cooper (composer/musician). Developing a philosophy based on a biblical worldview, one of the company's aims is to provide a &quotnurturing environment for artists of different disciplines to grow artistically and spiritually while creating dance theatre works". This has involved working collaboratively, incorporating dancers, singers, musicians, visual artists and actors, to create original works which have been performed at major contemporary dance and Christian arts events in New South Wales, Australia. Through the ethnographic methods of participant observation, interviewing and document analysis, details of this company's worldview as a group of &quotcommitted Christians" and their creative process was researched. This paper focuses on the description, analysis and interpretation of their creative process in the production of a new work during the first six months of 2001, identifying how their Christian worldview is reflected in their creative process.

Made available in DSpace on 2016-04-26T18:12:30Z (GMT). No. of bitstreams: 1 Ana Cristina Echevengua Teixeira.pdf: 1093859 bytes, checksum: ba5e77af9a887c162c1c0ee69dca75bc (MD5) Previous issue date: 2012-11-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / In Brazil, when one refers to official dance companies, what first comes up is the cultural journalism ignorance regarding the complexity they imply. What can be known about their operation if the media is silent, without informing the commitments arising from the fact their funding form is linked to laws and rulings that ignore their artistic nature? If the cultural journalism fails to explore the particular aspects of the power relationship between art and State manifested in the artistic existence of these companies, what does actually become public about them? This paper is based on the hypothesis of how successful the French model of official company, whose roots are connected to Louis XIV, was in Brazil, before the Portuguese colony, in the shows that took place here and before the critics at the times each one of these phenomena refers to, important allies to activate such victorious building. With Corpomídia Theory (KATZ; GREINER, 2001, 2003, 2005, 2006) it was possible to leverage the hypothesis that official companies operate by communicating their colonial ideology (the monarchies of Central Europe in the XVII, XVIII and XIX centuries), and the political terms of their foundation at the places where they are established. This double connection is found in its very own operation structure. This hypothesis can be built when one understands the body in codependence with the environments, in an ongoing process of changes of both environments, as the corpomídia concept suggests. By articulating the post-colonial reflection made by Agamben (2004), Bhabha (2007), Buarque de Holanda (1995, 2010), Elias (1990, 1993, 2001), among other researchers devoted to the embeddedness of communication with culture, it was possible to research the situation of the 15 Brazilian official dance companies through the relationship between media and power. The purpose of the research was to show that, in order to change the current situation, it is necessary to provide media visibility to the dance-State relationship, taking into account the weak communication of these days. Interviews with the directors of these companies were carried out, as well as bibliographic review that added to the authors mentioned the research of Brazilian Federal Registers, and valuable historical documents found in the collection of Bibliothèque Nationale de France (BNF), mainly at Bibliothèque-Musée de L Opéra, thanks to a four-month scholarship granted by CAPES / No Brasil, quando se fala sobre companhias oficiais de dança, o que primeiro aparece é a negligência do jornalismo cultural no que diz respeito à complexidade do que elas envolvem. O que se sabe sobre seu funcionamento se as mídias silenciam, sem informar sobre os comprometimentos advindos da sua forma de financiamento ser atrelada a leis e decretos que ignoram a sua natureza artística? Se o jornalismo cultural não explora os meandros da relação de poder entre arte e Estado, que se manifesta na forma de existência artística dessas companhias, o que, de fato, se torna público a seu respeito? Esta tese parte da hipótese de que o sucesso que o modelo francês de companhia oficial, de raízes ligadas a Luís XIV, teve no Brasil encontrou, na presença colonial portuguesa, nos espetáculos que aqui foram apresentados e nos críticos das épocas a que cada um desses fenômenos se refere, aliados potentes para o ativamento dessa construção vitoriosa. Com a Teoria Corpomídia (KATZ; GREINER, 2001, 2003, 2005, 2006), foi possível alavancar a hipótese de que as companhias oficiais atuam comunicando a sua ideologia colonial (as monarquias centro-europeias dos séculos XVII, XVIII e XIX) e as condições políticas de sua fundação nos locais onde se estabelecem. Essa dupla vinculação encontra-se encarnada na sua própria estrutura de funcionamento. Essa hipótese pode ser construída quando se entende o corpo em codependência com os ambientes, em um processo permanente de transformações de ambos, como propõe o conceito de corpomídia. Articulando a reflexão pós-colonial de Agamben (2004), Bhabha (2007), Buarque de Holanda (1995, 2010), Elias (1990, 1993, 2001), entre outros teóricos dedicados à imbricação da comunicação com a cultura, tornou-se possível pesquisar a situação das 15 companhias brasileiras oficiais de dança por meio da relação entre mídia e poder. A pesquisa teve como objetivo evidenciar que para modificar a situação atual torna-se necessário dar visibilidade midiática para a relação dança-Estado, levando em conta a comunicação precária hoje existente. Foram realizadas entrevistas com os diretores dessas companhias, bem como uma revisão bibliográfica que agregou aos autores citados o vasculhamento de Diários Oficiais e documentos históricos preciosos encontrados nos acervos da Bibliothèque Nationale de France (BNF), sobretudo na Bibliothèque-Musée de L Opéra, graças à uma bolsa-sanduíche de quatro meses concedida pela CAPES