The thesis analyses a demand on dancing schools, meaning the rate of intentions for dancing classes and particular customers' wishes about the form and content of a dancing class. It further compares wishes in question with the contemporary supply of dancing schools and, regarding to this information, formulates problems and ways of solving by changing components of the marketing mix. Thesis further summaries theoretical principles of marketing research and applies them on particular research. The practical part presents the results of evaluation and forms recommendations.

A presente pesquisa de mestrado tem como objetivo conhecer e investigar quais as contribuições da dança no contexto da Educação Infantil, no sentido da construção de uma Pedagogia da primeira infância que valorize e respeite o direito à educação e às Artes como um de seus fundamentos, aos tempos da infância de meninas e meninos pequenas/os e professoras/es, a partir das linguagens dançantes como possibilidades para a não dissociação entre corpo e mente, mas como uma forma de resistência à escolarização precoce e aos tempos do capital. A pesquisa qualitativa de abordagem etnográfica partiu da observação participante nas propostas em dança realizadas por uma professora de dança e duas turmas de crianças de cinco anos em uma das Creches/Pré-Escolas da Universidade de São Paulo, com registro em caderno de campo por meio de fotografias e filmagens em vídeo, de conversas informais com as crianças, famílias e demais profissionais e a realização de entrevista semiestruturada com a referida professora, a partir de autorização prévia. Num segundo momento da pesquisa de campo foram desenvolvidas propostas dançantes e metodologias de pesquisa em dança, com uma turma de crianças de quatro anos e sua professora, em uma Escola Municipal de Educação Infantil (EMEI) da cidade de São Paulo, na qual a pesquisadora também é professora. As análises dos dados coletados revelaram, no primeiro espaço investigado, que as propostas em dança observadas não objetivavam a construção de produtos prontos e coreografados. Negando uma concepção de infância inacabada, as propostas desenvolvidas nos dois espaços pesquisados, buscavam experiências corporais diversas, sensíveis e poéticas que provocavam as crianças a criarem soluções no tempo e no espaço. Destaca-se a centralidade das parcerias na concretização dessas experiências, evidenciando seu caráter transformador de realidades opressoras e rompendo, mesmo que momentaneamente, com o tempo linear imposto à Educação Infantil. Na EMEI pesquisada, explicitou-se o caráter transgressor e resistente das crianças pequenas em relação às formas de controle impostas. Nesse sentido, as Artes, especialmente aqui a dança, pode construir outras referências de tempo e de espaço às infâncias e a sua educação, tempos de percepção dos corpos, de possibilidades de movimentos, de gestualidades, de descobertas, de descolonização da infância, de relações com o pertencimento e com a diversidade cultural, de respeito às manifestações e expressões de meninas e meninos pequenas/os, e de suas professoras. / The present master\'s research aims at knowing and investigating the contributions of dance in the context of Early Childhood Education, in the sense of the construction of a Pedagogy of early childhood that values and respects the right to education and the Arts as one of its foundations, childhood times of girls and small boys and teachers, from the dance languages as possibilities for non-dissociation between body and mind, but as a form of resistance to early schooling and the times of capital. The qualitative research of an ethnographic approach was based on the participant observation in the dance proposals performed by a dance teacher and two groups of five-year-old children in one of the Kindergarten/Pre-Schools of the University of São Paulo, video and photo shoots, informal conversations with children, families and other professionals, and a semistructured interview with the referred teacher, based on prior authorization. In a second moment of the field research, dance proposals and dance research methodologies were developed with a group of four-year-old children and their teacher at a Municipal School of Early Childhood Education (EMEI) from São Paulo city, where the researcher is also a teacher. The analysis of the collected data revealed, in the first space investigated, that the observed dance proposals broke with a perspective of construction of ready or choreographed products. In the second space, the transgressive and resistant character of small children was explained in relation to the imposed forms of control. Denying a conception of unfinished childhood, the proposals developed in both spaces sought diverse, sensitive and poetic body experiences that provoked children to create solutions in time and space. The centrality of the teaching partnerships in the concretization of these experiences is highlighted, highlighting their transforming character of oppressive realities and breaking, even momentarily, with the linear time imposed on Early Childhood Education. In this sense Arts, especially dance, can construct other references of time and space to childhood and its education, times of perception of bodies, possibilities of movements, gestures, discoveries, decolonization of childhood, relations with belonging and cultural diversity, respect for the manifestations and expressions of girls and boys, aa well as their teachers.

<p>Ett rörelsehinder inskränker inte bara det funktionshindrade barnets fysiska möjligheter utan kan verka handikappande även på social nivå. Dans är ett ämne i skolan där man interagerar och får möjlighet att samarbeta och utvecklas socialt. Frågeställningen som denna uppsats undersöker lyder: Vilken betydelse kan dans i skolan ha för rörelsehindrade elevers mentala utveckling?</p><p>Frågan besvaras dels av berörd litteratur, dels av intervjurespondenter.</p><p>Det framgår att dans, som fokuserar på den funktionella kroppen, har förmåga att få de rörelsehindrade ungdomarna att se vad de har möjlighet att åstadkomma i stället för att lägga fokus på funktionsnedsättningen. Det framkommer också att de kan dansa med icke-rörelsehindrade elever och ta del av den sociala gemenskapen samt att inlärningsförmågan och kunskapsnivån höjs. Den dans som får sin rättmätiga, och i läroplanen omskrivna, plats i skolan har således mycket att bidra med för den övriga skolsituationen.</p> / <p>A motion- disability does not only restrict the physical prospects of the disabled child, but can also disable on a social level. Dance is a subject in school where you interact and are able to collaborate and socially improve. The question this paper investigates runs: Which importance may dancing in school have on motion- disabled pupils mental improvement?</p><p>The question at issue is answered partly by affected literature, partly by respondents.</p><p>It is concluded that dance, which focuses on the functional body, has the ability to make motion- disabled youths see what they are able to achieve, instead of focusing on the functional reduction. It is also clear that they can dance with normal functioned pupils and take part of the social solidarity, and also increase the learning ability and the proficiency level. The dance that gets its rightful, and in the curriculum mentioned, space in school has a lot to contribute with for the remaining school situation.</p>

Ett rörelsehinder inskränker inte bara det funktionshindrade barnets fysiska möjligheter utan kan verka handikappande även på social nivå. Dans är ett ämne i skolan där man interagerar och får möjlighet att samarbeta och utvecklas socialt. Frågeställningen som denna uppsats undersöker lyder: Vilken betydelse kan dans i skolan ha för rörelsehindrade elevers mentala utveckling? Frågan besvaras dels av berörd litteratur, dels av intervjurespondenter. Det framgår att dans, som fokuserar på den funktionella kroppen, har förmåga att få de rörelsehindrade ungdomarna att se vad de har möjlighet att åstadkomma i stället för att lägga fokus på funktionsnedsättningen. Det framkommer också att de kan dansa med icke-rörelsehindrade elever och ta del av den sociala gemenskapen samt att inlärningsförmågan och kunskapsnivån höjs. Den dans som får sin rättmätiga, och i läroplanen omskrivna, plats i skolan har således mycket att bidra med för den övriga skolsituationen. / A motion- disability does not only restrict the physical prospects of the disabled child, but can also disable on a social level. Dance is a subject in school where you interact and are able to collaborate and socially improve. The question this paper investigates runs: Which importance may dancing in school have on motion- disabled pupils mental improvement? The question at issue is answered partly by affected literature, partly by respondents. It is concluded that dance, which focuses on the functional body, has the ability to make motion- disabled youths see what they are able to achieve, instead of focusing on the functional reduction. It is also clear that they can dance with normal functioned pupils and take part of the social solidarity, and also increase the learning ability and the proficiency level. The dance that gets its rightful, and in the curriculum mentioned, space in school has a lot to contribute with for the remaining school situation.

Dansen har funnits länge i människans närhet och den har olika betydelser beroende på vad individen har för uppfattning om dansens normer och uppbyggnad. Syftet med vår empiriska studie är att undersöka om pojkar och flickor har en liknande syn på ämnesområdet rörelse till musik samt dans i gymnasieskolan och i så fall varför eller varför inte de har det. Vi har utgångspunkt i genusperspektivet och därmed Hirdmans (2001) teorier om genuskontraktet. Metoden vi har använt oss av är den kvantitativa undersökningsmetoden. Inom ramen för den kvantitativa undersökningsmetoden valde vi enkäter eftersom det är enklast att få svar på våra frågeställningar samt för att det ger oss stora möjligheter att nå ut till många individer.   Rörelse till musik samt dans uppfattas som ett feminint ämne. Resultatet visar på att den uppfattningen är generell bland det manliga könet. Pojkar som svarat på enkäten menar att dans är ”tjejigt”. Elevers inställning är att dans rent generellt är till för båda könen.

Submitted by Glauber de Assunção Moreira (glauber.moreira@ufba.br) on 2018-09-25T19:48:47Z No. of bitstreams: 2 Amanda Pinto Dissertação.pdf: 704414 bytes, checksum: 8e81f650414bda355376bf57945a3263 (MD5) ANEXOS.rar: 33094548 bytes, checksum: 51830b20a3ecde6faaa73ee4d55abcbc (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-09-26T18:39:55Z (GMT) No. of bitstreams: 2 Amanda Pinto Dissertação.pdf: 704414 bytes, checksum: 8e81f650414bda355376bf57945a3263 (MD5) ANEXOS.rar: 33094548 bytes, checksum: 51830b20a3ecde6faaa73ee4d55abcbc (MD5) / Made available in DSpace on 2018-09-26T18:39:55Z (GMT). No. of bitstreams: 2 Amanda Pinto Dissertação.pdf: 704414 bytes, checksum: 8e81f650414bda355376bf57945a3263 (MD5) ANEXOS.rar: 33094548 bytes, checksum: 51830b20a3ecde6faaa73ee4d55abcbc (MD5) / Esta dissertação trata da proposição do campo de conhecimento Dança na Escola, especificamente na Proposta Curricular (PC) do Sistema Educacional de Manaus, referenciando-se nos Parâmetros Curriculares Nacionais (PCNs) para a Dança. Com referência nesses Parâmetros, os quais tratam a Dança como campo específico de conhecimento, é que se busca identificar, nesta investigação, as lacunas teóricas presentes entre seus pressupostos e a PC do Sistema Educacional de Manaus, além das lacunas entre as teorias vigentes em ambos os documentos. Considera-se que é um problema de compreensão das Políticas Públicas de que a Dança seja parte da Educação Escolar. As questões do corpo, que estudos vigentes têm trazido, precisam estar na escola, pois é possível afirmar que sua contribuição vai auxiliar para olhares que foquem a pessoa, o aluno, como ocorrem seus processos de pensamento e como se desenvolve no processo de ensino/aprendizagem. Autores referências para esta pesquisa como Santos (2002), Rengel (2007), Marques (1999), Vasconcelos (2009), Barbosa (2008), Churchland (2004), Katz (2005) e Foucault (2009) pesquisam essas questões. A abordagem metodológica desta pesquisa é de caráter qualitativo, utilizando a pesquisa documental como referência. Para uma crítica reflexiva, o método da “Análise do Discurso” fez-se necessário, estendendo-se à técnica de “Análise de Expressão”. A pesquisa se pautou em três momentos básicos: o primeiro, o aporte teórico mencionado, juntamente com a localização do campo de conhecimento Dança dentro da Escola e no saber geral. O segundo, a Análise de Expressão dos conteúdos da PC, nos quais foi possível perceber muitos entendimentos dualistas, que são conceitos defasados em relação às teorias vigentes. O terceiro, a situação destes entendimentos sobre corpo e Dança na Educação Manauara e Brasileira, considerando o contexto da concepção dos documentos PC e PCNs. / This dissertation deals with the proposition of the field of knowledge Dance in School, specifically in Curriculum Proposal (PC) of Manaus Municipal Educational System, referring to the National Curricular Parameters (PCN) to the Dance. With reference to these parameters, which treats the Dance as a specific field of knowledge, is that this research seeks to identify gaps between their present theoretical assumptions and PC Educational System of Manaus, and the gaps between current theories in both documents. Considers that it is a problem of understanding the public policy that Dance is part of Education in School. The body matters, that current studies have brought, must be in school, because it is possible to affirm that your contribution will help to focus on what the person, the student is, as his thought processes occur and how it develops in the teaching/learning. Authors references for this research as Santos (2002), Rengel (2007), Marques (1999), Vasconcelos (2009), Barbosa (2008), Churchland (2004), Katz (2005) and Foucault (2009) researching these issues. The methodological approach of this research is qualitative, using documentary research as a reference. To reflect critically, the method of “Discourse Analysis” was necessary, extending the technique of “Expression Analysis”. The research was based on three basic moments: first, the theoretical mentioned, along with the location of the field of knowledge Dance in School and general knowledge. Second, the “Expression Analysis” of the contents of the PC, where it was possible to see many understandings dualists, concepts that are outdated in relation to current theories. The third, the situation of these understandings about the body and Dance in Education Brazilian and Manauara, considering the context of the conception of the documents PC and PCNs.

I denna masteruppsats har jag studerat grundskolelärares berättelser om hur de upplever värdet med dansundervisning av besökande kulturskolelärare i grundskolans årkurs två och tre. Arbetet är gjort inom berättelseforskning som metodisk ansats. Elva grundskolelärare har berättat och samtalat kring teman, påbjudna av mig, i relation till dansundervisningen. De intervjuade grundskolelärarna har aktivt deltagit tillsammans med sina elever på danslektionen ledd av en danslärare från Sigtuna kulturskola, en gång i veckan, i fyrtio minuter under två årskurser.Mitt syfte är att bidra till kunskap om dans i skolan genom att undersöka hur ett antal grundskolelärare i en kommun tänker om undervisningen i dans i skolan. För att uppnå det syftet, att bidra till kunskap, formulerade jag två forskningsfrågor: Vad tänker ett antal tillfrågade grundskolelärare om dans i skolan? Och: På vilket sätt kan lärarnas tankar om dans säga något om dans som en estetisk lärprocess i grundskolan?Genom att undersöka forskning i ämnet estetiska lärprocesser och sedan specifikt estetiska lärprocesser med dans i skolan i fokus har jag funnit att dans i skolan är ett gott verktyg att använda i elevers utbildning. Genom estetiska lärprocessers inneboende rhizomatiska natur ges eleverna möjlighet att både uppleva, skapa och utveckla i samma situation. Estetiska lärprocesser innebär holistiskt lärande, som främjar både hälsa och välmående hos eleverna. Estetiska lärprocesser stärker inte enbart elevers identitetsskapande och personliga utveckling utan också kommunikationen med omvärlden. Genom ett skapande uttryck, i kreativa former, får eleven personliga erfarenheter av att utforska den konstnärliga sfären och på så sätt uppleva ett meningsskapande lärande som bidrar till såväl språkutveckling som kunskaper i grundskolans olika ämnen.Lärarna fick sju samtalsteman vid sju stationer för att berätta sina tankar om: Kunskapsinhämtning, språkutveckling, personlig utveckling, sociala observationer, genus, skapande och övrigt, där lärarna kunde ta upp något på eget initiativ. I samtliga berättelser var lärarna samstämmigt positiva vid stationerna. De var överens om att estetiska lärprocesser stärker både klassen som helhet och eleven på det personliga planet. Eleverna får redskap att vara kreativa både enskilt och i grupp. Dans i skolan hjälper elever att inhämta den kunskap som skolan vill förmedla, även rent språkligt. / In this thesis, I have studied the stories of primary school teachers regarding their experiences of the values of dance lessons by visiting teachers from Sigtuna kulturskola provide in their classes for children aged eight and nine. This work was completed through narrative research as a methodological approach, in which eleven primary school teachers were interviewed. These teachers had actively participated in the dance lessons, which were led by a dance teacher from Sigtuna kulturskola for forty minutes each week during two grades. My aim is to contribute to knowledge about dance in school by investigating how a number of primary school teachers in a municipality think about the teaching of dance in school. To achieve that aim, of contributing to knowledge, I formulated two research questions: What do a few primary school teachers think about dance in school? And: In what way can the teachers’ thoughts about dance say something about dance as an aesthetic learning process in primary school? Through my research, I have found that dance in school can be a powerful tool for students' basic education. Through the inherent rhizomatic nature of aesthetic learning process, students are given the opportunity to experience, create, and develop in the same situation. They can go through a holistic learning that promotes both health and well-being. Aesthetic learning processes not only strengthen students' identity and personal development, but also communication with the outside world. Through creative expression, in creative forms, the students get personal experience of exploring the artistic sphere, and thus experiences meaningful learning that contributes to language development as well as a knowledge in the various subjects of primary school. The teachers were given seven conversation themes, at seven stations, to share their thoughts on: knowledge acquisition, language development, personal development, social observations, gender, creativity, and one more station, named “other aspects”, where the teachers could bring forward something of their own initiative. In all the stories, the teachers were unanimously positive at the stations They agreed that aesthetic learning processes strengthen both the class as a whole and the student on a personal level. The students are given tools to be creative both individually and in groups in dance through dance. Dancing in school helps students acquire the knowledge that the school wants to convey, also linguistically.

En 2001, dans la foulée de la réforme scolaire, une deuxième génération de programmes d’études en danse a été implantée (Gouvernement du Québec, 2001, 2003, 2007). Alors que la représentation devant public est prescrite dans les programmes d’études pour le secondaire (Gouvernement du Québec, 2003, 2007), elle est quasi-absente du programme d’études pour le primaire (Gouvernement du Québec, 2001). De plus, il y a peu de recherches empiriques sur l’enseignement de la danse à l’école québécoise et aucune sur l’utilisation de la représentation devant public dans ce contexte. Or, les enseignants sont nombreux à y avoir recours de façon intuitive pour favoriser les apprentissages chez les élèves. C’est pourquoi, à la lumière de repères théoriques issus de modèles de la transposition didactique, du processus de création, des systèmes de pertinence et de la construction identitaire des enseignants de la danse en milieu scolaire, nous avons cherché à comprendre comment la représentation devant public est utilisée, en danse, au troisième cycle du primaire, à l’école québécoise. Pour ce faire, nous avons eu recours à l’observation, à la captation audio et aux entretiens pour collecter des données auprès de deux enseignantes en danse et de cinquante-quatre élèves du troisième cycle du primaire, pendant le processus de création de danses menant à la présentation devant un public. Nous avons ainsi pu dégager treize thèmes représentatifs de l’expérience vécue par ces enseignantes et ces élèves, ainsi qu’une ébauche de modèle du processus de préparation d’une représentation devant public en milieu scolaire. / In 2001, following the curriculum reform, a second generation of dance programs was implemented (Gouvernement du Québec, 2001, 2003, 2007). While performing in front of an audience is prescribed in the programs for secondary education (Gouvernement du Québec, 2003, 2007), it is almost absent from the program for primary education (Gouvernement du Québec, 2001). Furthermore, there is little empirical research in the field of in-school dance teaching in Quebec, and none tackle the use of performance is this context. However, many teachers use it intuitively to promote students’ learning. Thus, enlightened by theoretical marks from models of didactic transposition theory, the creative process, the relevance systems theory and the identity construction in dance teachers in the school environment, we aim at understanding how performance is implemented, in dance, in Quebec’s schools, for kids from 5th to 6th grade. To do so, we used observation, audio recording and interviews to collected data from two in-school dance teachers and fifty-four of their students from 5th to 6th grade, while they were creating dances which would be performed in front of an audience. We were then able to extract thirteen themes representing the teachers’ and students’ experience of creating dances to be performed in front of an audience, and we developed a draft of a model of the process of preparing a performance.