Orientador: Marcia Maria Strazzacappa Hernandez / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-04T12:03:58Z (GMT). No. of bitstreams: 1 Morandi_CarlaSilviaDiasdeFreitas_M.pdf: 13653661 bytes, checksum: 38975359a8d20cd0697398bd1715a085 (MD5) Previous issue date: 2005 / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Darbo objektas: šokių mokytojo, kaip laisvalaikio organizatoriaus kompetencijos. Darbo tikslas: nustatyti šokių mokytojo, kaip laisvalaikio organizatoriaus kompetencijas. Darbo problema: ar šokių mokytojai pasiţymi laisvalaikio organizatoriaus kompetencijomis? Darbo uţdaviniai: 1. Apibrėţti šokių mokytojų kompetencijų sampratą teoriniu aspektu; 2. Išsiaiškinti šokių mokytojų kompetencijos tobulinimo būdus ir galimybes; 3. Ištirti šokių mokytojo, kaip laisvalaikio organizatoriaus kompetencijas. Darbo išvados ir svarbiausi rezultatai: atlikto tyrimo metu paaiškėjo, jog didţioji dauguma šokių mokytojų dirba pagal įgytą kvalifikaciją. Taip pat išsiaiškinta, kad šokių mokytojai įgyta kvalifikaciją vertina naudinga. Remiantis respondentų išskirtomis naudingomis laisvalaikio organizatoriaus kompetencijomis kurios yra: komunikabilumas, gebėjimas organizuoti renginius, sugebėjimas įtikinti ir motyvuoti ţmones, mokėjimas organizuoti ir burti ţmones, gebėjimas parinkti ir organizuoti veiklas ir paslaugas atsiţvelgiant į klientų grupes, fizinį pajėgumą, poreikius bei reklamos priemonių ir metodų ţinojimas ir taikymas galima teigti, jog šokių mokytojai supranta kokiomis, kaip laisvalaikio organizatorius kompetencijomis turėtų pasiţymėti. Tačiau respondentų rezultatų pasiskirstymas kokias šokio mokytojai, kaip laisvalaikio organizatoriai yra įgiję studijų metu verčia abejoti ar šios kompetencijas jie yra įgiję, nes rezultatų pasiskirstymas rodo tokias įgytas kaip laisvalaikio... [toliau žr. visą tekstą] / The object: dance teacher‘s as leisure organizer‘s competence. The aim: identify dance teacher‘s as leisure organizer‘s competence. The problem: does dance teachers have leisure organizer competencies? Work tasks: 1. Define the concept of a dance teacher competencies in theoretical aspect; 2. Find out dance teacher’s competence improving the ways and opportunity; 3. Examine dance teacher‘s as leisure organizer‘s competences. Conclusions and main results: study revealed that the vast majority of dance teachers is working by their qualification. Also found that dance teachers theirs skills keeps useful. According to the respondents isolated leisure organizer useful competencies are: communication skills, the ability to organize events, the ability to persuade and motivate people, ability to organize and bring together the people, the ability to select and organize the activities and services according to customer groups, exercise capacity, needs, and promotional tools and techniques and the application of knowledge can be said that the dance teachers understand what as entertainers should possess competencies. However, the results of the distribution of the respondents which dance teachers as entertainers have acquired during their studies cast doubt on whether the competencies they have acquired, as the results show the distribution obtained as a leisure organizer competencies: communication skills, ability to work in teams, the ability to convey their views and knowing how to... [to full text]

No description available.

Fokus för studien är danslärares förståelse och bruk av mentala träningsprocesser i dans­undervisningen. Syftet med studien är att beskriva hur danslärare, vid gymnasieprogram och yrkesprogram för dans i dag, arbetar med metoder som indikerar mental träning. Vidare är avsikten att skapa förutsättningar för kunskap om mental träning i danslärares undervisnings­praktik. I studien har jag valt att arbeta med blandade metoder. Detta möjliggör en kom­binerad kvantitativ och kvalitativ studie. Jag har genomfört en enkätundersökning, samt en kombinerad observation och intervjustudie med danslärare på gymnasieskolans estetiska program och på yrkesprogram för dans. I resultatet framkommer att danslärarna helt eller delvis saknar utbildning i mentala tränings­metoder och därmed de teoretiska verktyg som en holistisk undervisning kräver. Detta indikerar att danslärarna saknar teoretiska verktyg för att medvetandegöra vikten av mental träning, men att de aktivt arbetar didaktiskt med danselevens mentalt utmanande tränings­processer. När danslärarna har teoretiska verktyg kan de benämna de mentala träningsmetoder de tillämpar och begreppsliggöra de mentala träningsprocessernas betydelse. På så sätt med­vetandegörs danseleverna om de mentala träningsmetodernas betydelse vilket skapar förut­sätt­­ningar för en hälsosammare dansprofession. / Dance teachers’ practice and understanding of mental training processes in dance teaching is the focus of this study. The aim is to describe how dance teachers, in high school programs and on vocational programs for dance today, work with mental training processes. Dance teachers need theoretical and practical knowledge of mental training, to enable dance students’ awareness of how they can handle stressful situations as dancers. The purpose of this study is to increased knowledge about mental training in dance teachers’ teaching practice. I have conducted a mixed method study, with a survey, and a combined observation and interview study. This enables a combined quantitative and qualitative study. The dance teachers in this study relates to how dance students express mental states. The teachers use didactic working methods that show how mental training methods works. This indicates that dance teachers actively work with mental training processes but lack theoretical tools to raise awareness of the importance and benefits of mental training. Dance teachers that can name the mental training methods they apply and conceptualize the significance of the mental training processes for the dancer. Mental training methods enables a possibility for dancers to reach a healthier dance carrier.

The aim of this study is to describe how sex eduacation, as an area of expertise, is made visible and constructed in dance teachers education in Swedish higher secondary school. The queer theory describes dance teachers’ work from a perspective of body, sexuality, gender and normativity. Using qualitative methods, leaving space for reflection and subjective experiences, four higher secondary school working dance teachers were interviewed. The findings include that sexual education as an area of expertise exists both consciously and unconsciously in dance education and the subject of dance. Furthermore, the informants do not understand sexuality as something important in teaching dance, in spite of that sexuality as a subject is present in the discussions. The result of the study proved that norms about sexuality, body and gender cooperate with the dance education and the dance teachers daily encounters with their students. The most important conclusion in the study was that dance teachers should have an understanding of how sexual education as an area of expertise can be expressed through dance teaching to be able to encounter students with an including education.

This thesis describes and theoretically illuminates perspectives on the formation of a dance teacher education in Sweden during the period 1939–65. The process is explored mainly through the visions and activities of Svenska Danspedagogförbundet, SDF (The Swedish Dance Teacher Association). Particular attention is paid to specific instances which eventually could lead toward the establishment of a government-sponsored educational program. The work is both chronologically and thematically arranged in order to enlighten time specific turning points that also encompass three major themes which can be seen as initiation, expansion and establishment. These themes summarize the problems my investigation zeroes in on. The chronological framework is bounded by the foundation of the SDF in 1939, and the first year of classes at the new pedagogical section of Koreografiska Institutet, KI (the Choreographic Institute) in 1964–65. The study focuses on the intersection of aesthetic, educational, and professional transformative processes which also includes the international field of dance. More specifically the study explores the initial process gathering practitioners in a professional association, which could lead both to unionization and the establishment of an education. As far as professional and educational questions are concerned the process toward establishing a system of dance teacher education followed a general growth and organization of the Swedish educational system as a whole. The educational alternatives which evolved between 1959 and 1965 corresponded to both internal and external needs, especially by exposing the lack of a competent corps of teachers. The study examines how these alternatives collaborated and competed with one another for a relatively short time. Though lines of contention were drawn between leading actors this work also illuminates how the profession and the art itself acquired increased status in a broader cultural context. The vision of modernizing the art of dance along with its pedagogy is shown to be as much about pedagogic matters as about aesthetic ideals. Regardless of actual differences and approaches to aesthetics and education the process was guided toward the establishment of a dance teacher education.

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No. of bitstreams: 2 Monica Correa de Borba Barboza_Dissertacao.pdf: 1860571 bytes, checksum: 6a7c420104fa213f9be45f222fd78a93 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-01-08 / Sem bolsa / O presente trabalho teve como objetivo compreender como se desenvolveu o projeto de formação de professores do Curso de Dança-Licenciatura da UFPEL, nos movimentos da sua trajetória. O processo metodológico inspirou-se em um estudo de caso, com abordagem qualitativa, apoiando-se principalmente em estudos de André (1995), Minayo (1994), Bodgan e Biklen (1994) e Bardin (2011). Foram utilizados como instrumentos para coleta de dados fontes documentais (Projetos Pedagógicos do Curso) e entrevistas com professores e coordenadores que atuaram no período de 2008 até 2012, totalizando oito entrevistados. Os principais aportes teóricos do estudo foram: Nóvoa (1995,1997, 2002, 2007, 2009, 2011), Shulman (1986, 2005), Veiga (2012), Strazzacapa (2003, 2010), Marques (2008, 2010), Duarte Jr. (2006, 2010) e Sacristán (1998). Destacamos, a partir do estudo, que o referido Curso surge em um contexto institucional de adesão ao REUNI, transparecendo falta de planejamento para sua abertura. O Curso vai se desenvolvendo e estruturando na medida em que novos integrantes vão compondo o corpo docente. Foi possível identificar que o projeto passou por três grandes propostas, em meio a constantes mudanças. O movimento de um projeto ainda em esboço inicial com forte ênfase na Dança -Teatro e na prática de Dança em espaços não-formais de ensino, vai cada vez mais demarcando a docência como lugar de “fala”, focando com maior força a formação para o professor da escola básica. O grupo passa a compreender que a principal abordagem do curso seria a formação pedagógica e uma discussão ampla de Dança envolvendo diferentes técnicas codificadas de Dança no currículo obrigatório. Hoje, os professores do Curso têm forte preocupação com a formação de docentes engajados nas pautas políticas do campo. Os saberes artísticos, que perpassam uma educação pelo sensível, compõem a tônica maior da proposta compreendendo-os como inerentes à prática profissional no ensino de Dança. Além de sistematizar a trajetória do Curso, o estudo permitiu apontar alguns saberes que constituem essa formação na perspectiva dos docentes, assim como os desafios que se apresentam para a área, com relação a sua inserção na escola básica e no ensino superior que tornam ainda mais complexa a formação de seus professores. / This study aimed to understand how the project of teacher training at the Dance Degree Course at UFPEL (Federal University of Pelotas) was developed, in the movements of its trajectory. The methodological process was inspired by a case study with a qualitative approach, relying mainly on studies from André (1995), Minayo (1994), Bodgan and Biklen (1994) and Bardin (2011). As instruments for data collection, we used documentary sources (Course’s Pedagogical Projects) and interviews with teachers and coordinators who worked from 2008 to 2012, in a total of eight respondents. The main theoretical support of the study were: Nóvoa (1995.1997, 2002, 2007, 2009, 2011), Shulman (1986, 2005), Veiga (2012), Strazzacapa (2003, 2010), Marques (2008, 2010), Duarte Jr. (2006, 2010) and Sacristán (1998). Based on the study, we highlight the fat that the course comes in an institutional context of adhesion of the University to the REUNI Program, which lead to a lack of planning for opening new courses. The course was developed and structured as new members were becoming part of the teaching staff. It was possible to identify that the project has undergone three major proposals in the midst of constant change. The movement of a project still in the initial sketch, with strong emphasis on dance-theater and dance practice in non-formal spaces of education, did increasingly demarcate teaching as a place of "speech", focusing mostly on training the teacher for primary school education. The group comes to understand that the main approach of the course would be the teacher training and an extensive discussion about Dance, involving different dance techniques codified in the compulsory curriculum. Nowadays, the course professors have strong concerns about the education of teachers engaged in the political agendas of the field. The artistic knowledge, one that permeates an education through the sensible, makes up the bulk of the proposal’s tonic, understanding it as inherent to professional practice in teaching dance. In addition to a systematization of the course trajectory, this study made it possible to indicate some knowledge constituting the training from the perspective of teachers, as well as the challenges that show up in this area, regarding their integration in elementary school and higher education that makes the formation of its teachers even more complex.

Studien syftar till att få en förståelse för danslärares förhållningssätt till begreppen kropp, genus och etnicitet inom ramen för kursen Dansteori i gymnasieskolan. Det undersöks huvudsakligen med hjälp av det intersektionella perspektivet samt den normkritiska pedagogiken som teoretiskt ramverk. Detta i kombination med olika perspektiv på begreppen kropp, genus och etnicitet utifrån olika teorier. Studien är kvalitativ och innefattar skriftliga och muntliga webbaserade intervjuer med danslärare. Analysen utgår från en hermeneutisk tolkning. Studien visar att danslärarna förhåller sig likartat till begreppens funktion i undervisningen. De kan användas som verktyg för att förankra dansen i samhället eller för att synliggöra respektive vidga normer. Resultaten pekar också på att alla danslärare i undersökningen ser begreppen som sociala konstruktioner inom sin undervisning. Vilken plats de får i undervisningen ser olika ut. Några behandlar dem som icke återkommande moment och som ett redskap för eleverna medan andra låter dem vägleda utformningen av den egna undervisningen. Det senare ger upphov till en mer normkritisk pedagogik som utmynnar i ett vidgande av normer. / The study seeks to get an understanding of how dance teachers at secondary schools approach the concepts of body, gender, and ethnicity within the course ‘Dance theory’. This is examined through the norm critical approach and intersectionality as the main theoretical framework. Moreover, theoretical perspectives on body, gender and ethnicity are presented. This qualitative study involves oral or written digital interviews for collecting data and uses the hermeneutical perspective as the method for analysis. The results show that dance teachers regard the concepts as socially constructed and approach them in a similar way. It is also made visible that the concepts of body, gender and ethnicity are used as a tool for connecting dance to society in general, or to either highlight or transform social norms. Furthermore, differences also appear since the concepts seem to have various positions in their teaching and for whom the concepts are considered as an instrument. Some dance teachers deal with the concepts as non-recurring elements while others allow them to influence the whole teaching practice. The latter seems to lead to more norm- breaking activities.

Depuis 1981, les jeunes du primaire et secondaire sont sensibilisés à la danse par des enseignants qui l’offrent au sein du curriculum de la formation générale des jeunes. Les enseignants de la danse en milieu scolaire (EDMS) du Québec, bénéficient d’une formation universitaire à la fois disciplinaire, pédagogique et pratique qui développe leurs compétences tant artistiques que professionnelles. Au sein de cette formation initiale, commence le développement de l’identité professionnelle de l’enseignant (Lessard et Tardif, 2003) qui continue à se développer durant toute la carrière. Toutefois, la construction identitaire de l’EDMS n’a pas fait l’objet d’une étude approfondie car l’enseignement de la danse en milieu scolaire est une profession relativement nouvelle, non-traditionnelle et méconnue. Ainsi, dans le cadre d’une approche sociologique constructiviste, nous nous penchons sur les tensions et stratégies identitaires inhérentes aux trajectoires biographiques et aux représentations professionnelles de praticiens dans le but de mieux connaître qui ils sont. Nous cherchons à comprendre le sens qu’ils donnent, dans leur construction identitaire, à leur parcours de formation, à leur travail, à leurs relations dans le travail, aux savoirs, et aux institutions en élaborant les rapports qu’ils entretiennent avec autrui ainsi que la perception de leurs rôles, statuts et fonctions artistiques et éducatifs. Un cadre conceptuel nous a permis de faire un portrait sociologique des sphères de négociations identitaires inhérentes à la construction de l’identité professionnelle grâce à l’analyse de la double transaction biographique et relationnelle, un concept de Dubar (1991). Les données de cette étude, recueillies auprès de dix-huit EDMS, proviennent d’un questionnaire sociodémographique ainsi que d’un questionnaire et d’entretiens sur leurs représentations professionnelles, leurs héritages et sur les incidents critiques de leurs trajectoires biographiques. L’analyse inductive des données par l’approche de théorisation ancrée, vérifiée par quinze participantes, a permis de dégager six sphères internes et externes de négociations identitaires communes à la construction de l’identité professionnelle d’EDMS : Devenir, Se réaliser, Se projeter, Faire sa place, Rencontrer l’autre et Agir. Ces sphères se présentent comme des espaces d’identification dans lesquelles l’EDMS construit son identité professionnelle en se positionnant par rapport aux identités héritées, acquises, prescrites, réelles et projetées. Cependant, les écarts entre les logiques opposées, les postures complémentaires et les rôles à jouer pour soi et pour autrui dans la pratique peuvent engendrer des tensions identitaires intrasubjectives et intersubjectives que nous avons identifiées. Pour réduire les écarts entre les représentations polaires et pour apaiser les zones d’incertitudes identitaires, l’EDMS mobilise des stratégies temporelles et spatiales. Neuf ont été relevées: conversion, conciliation, différenciation, implication multiple, maintien identitaire, défense, promotion, alternance des rôles et formation continue. Cette étude expose des façons d’EDMS de se définir pour soi et pour autrui qui permettent d’accéder aux référents identitaires des sphères par des exemples concrets issus des verbalisations de participantes sur le terrain. L’interprétation de nos résultats nous conduit à décrire six profils identitaires provisoires. Nos résultats offrent des retombées possibles en formation initiale et continue. / Since 1981, primary and secondary school students have been sensitized to dance education by dance teachers who offer the discipline within the curriculum. The dance teachers in the school environment (DTSE) of Quebec benefit from a university formation which is at once disciplinary, pedagogical and practical and which develops their artistic as well as professional competencies. It is within this initial formation that the development of the professional identity of the teacher begins (Lessard et Tardif, 2003) and continues to develop throughout their entire career. Nevertheless, the identity construction of the DTSE has not been made the subject of a thorough study, since the teaching of dance in the school environment is a relatively new, non-traditional and unfamiliar profession. Thus, within the framework of a sociological constructivist approach, we study the tensions and identity strategies inherent in the biographical trajectories as well as in the professional representations of the DTSE with the aim of knowing better who they are. We seek to understand the meaning which they give, in their identity construction, to their formative path, to their work, to their relations in work, to knowledge, and to institutions by elaborating the relations maintained with others, and their perceptions of their artistic and educational roles, status and functions. A conceptual framework enabled us to make a sociological portrait of the spheres of identity negotiations inherent in the construction of their professional identity thanks to the analysis of the double biographical and relational transaction, a concept of Dubar (1991). The data collected from eighteen DTSE was generated from a socio-demographic questionnaire as well as from a questionnaire and interviews on their professional representations, their backgrounds and on the turning points of their biographical trajectories. The inductive analysis of the data, using the grounded theory approach, was verified by fifteen participants, and reveals six internal and external spheres of identity negotiation common to the identity construction of the DTSE: To become, To achieve, To project oneself, To make one’s place, To encounter the other and To act. These spheres represent identification fields within which the identity construction process of the DTSE develops in relation to the various identities inherited, acquired, prescribed, real, and projected. However the intervals between the opposing logics, the complementary postures and the roles to be played in practice for oneself and for others could provoke intrasubjective and intersubjective identity tensions which we have identified. In order to reduce the intervals between the polar representations and to alleviate the zones of identity uncertainties, the DTSE employs certain temporal and spatial strategies. We have identified nine such strategies: Conversion, conciliation, differentiation, multiple implication, identity preservation, defence, promotion, alternation of roles, and continuing education. This study exposes DTSE manners of defining oneself for oneself and for others which give access to the identity referents of the various spheres by concrete examples resulting from the verbalisations of participants in the field. Our interpretation of the results conducts us to describe six provisional identity profiles. Our results offer possible consequences in initial and continuing formation.

Depuis 1981, les jeunes du primaire et secondaire sont sensibilisés à la danse par des enseignants qui l’offrent au sein du curriculum de la formation générale des jeunes. Les enseignants de la danse en milieu scolaire (EDMS) du Québec, bénéficient d’une formation universitaire à la fois disciplinaire, pédagogique et pratique qui développe leurs compétences tant artistiques que professionnelles. Au sein de cette formation initiale, commence le développement de l’identité professionnelle de l’enseignant (Lessard et Tardif, 2003) qui continue à se développer durant toute la carrière. Toutefois, la construction identitaire de l’EDMS n’a pas fait l’objet d’une étude approfondie car l’enseignement de la danse en milieu scolaire est une profession relativement nouvelle, non-traditionnelle et méconnue. Ainsi, dans le cadre d’une approche sociologique constructiviste, nous nous penchons sur les tensions et stratégies identitaires inhérentes aux trajectoires biographiques et aux représentations professionnelles de praticiens dans le but de mieux connaître qui ils sont. Nous cherchons à comprendre le sens qu’ils donnent, dans leur construction identitaire, à leur parcours de formation, à leur travail, à leurs relations dans le travail, aux savoirs, et aux institutions en élaborant les rapports qu’ils entretiennent avec autrui ainsi que la perception de leurs rôles, statuts et fonctions artistiques et éducatifs. Un cadre conceptuel nous a permis de faire un portrait sociologique des sphères de négociations identitaires inhérentes à la construction de l’identité professionnelle grâce à l’analyse de la double transaction biographique et relationnelle, un concept de Dubar (1991). Les données de cette étude, recueillies auprès de dix-huit EDMS, proviennent d’un questionnaire sociodémographique ainsi que d’un questionnaire et d’entretiens sur leurs représentations professionnelles, leurs héritages et sur les incidents critiques de leurs trajectoires biographiques. L’analyse inductive des données par l’approche de théorisation ancrée, vérifiée par quinze participantes, a permis de dégager six sphères internes et externes de négociations identitaires communes à la construction de l’identité professionnelle d’EDMS : Devenir, Se réaliser, Se projeter, Faire sa place, Rencontrer l’autre et Agir. Ces sphères se présentent comme des espaces d’identification dans lesquelles l’EDMS construit son identité professionnelle en se positionnant par rapport aux identités héritées, acquises, prescrites, réelles et projetées. Cependant, les écarts entre les logiques opposées, les postures complémentaires et les rôles à jouer pour soi et pour autrui dans la pratique peuvent engendrer des tensions identitaires intrasubjectives et intersubjectives que nous avons identifiées. Pour réduire les écarts entre les représentations polaires et pour apaiser les zones d’incertitudes identitaires, l’EDMS mobilise des stratégies temporelles et spatiales. Neuf ont été relevées: conversion, conciliation, différenciation, implication multiple, maintien identitaire, défense, promotion, alternance des rôles et formation continue. Cette étude expose des façons d’EDMS de se définir pour soi et pour autrui qui permettent d’accéder aux référents identitaires des sphères par des exemples concrets issus des verbalisations de participantes sur le terrain. L’interprétation de nos résultats nous conduit à décrire six profils identitaires provisoires. Nos résultats offrent des retombées possibles en formation initiale et continue. / Since 1981, primary and secondary school students have been sensitized to dance education by dance teachers who offer the discipline within the curriculum. The dance teachers in the school environment (DTSE) of Quebec benefit from a university formation which is at once disciplinary, pedagogical and practical and which develops their artistic as well as professional competencies. It is within this initial formation that the development of the professional identity of the teacher begins (Lessard et Tardif, 2003) and continues to develop throughout their entire career. Nevertheless, the identity construction of the DTSE has not been made the subject of a thorough study, since the teaching of dance in the school environment is a relatively new, non-traditional and unfamiliar profession. Thus, within the framework of a sociological constructivist approach, we study the tensions and identity strategies inherent in the biographical trajectories as well as in the professional representations of the DTSE with the aim of knowing better who they are. We seek to understand the meaning which they give, in their identity construction, to their formative path, to their work, to their relations in work, to knowledge, and to institutions by elaborating the relations maintained with others, and their perceptions of their artistic and educational roles, status and functions. A conceptual framework enabled us to make a sociological portrait of the spheres of identity negotiations inherent in the construction of their professional identity thanks to the analysis of the double biographical and relational transaction, a concept of Dubar (1991). The data collected from eighteen DTSE was generated from a socio-demographic questionnaire as well as from a questionnaire and interviews on their professional representations, their backgrounds and on the turning points of their biographical trajectories. The inductive analysis of the data, using the grounded theory approach, was verified by fifteen participants, and reveals six internal and external spheres of identity negotiation common to the identity construction of the DTSE: To become, To achieve, To project oneself, To make one’s place, To encounter the other and To act. These spheres represent identification fields within which the identity construction process of the DTSE develops in relation to the various identities inherited, acquired, prescribed, real, and projected. However the intervals between the opposing logics, the complementary postures and the roles to be played in practice for oneself and for others could provoke intrasubjective and intersubjective identity tensions which we have identified. In order to reduce the intervals between the polar representations and to alleviate the zones of identity uncertainties, the DTSE employs certain temporal and spatial strategies. We have identified nine such strategies: Conversion, conciliation, differentiation, multiple implication, identity preservation, defence, promotion, alternation of roles, and continuing education. This study exposes DTSE manners of defining oneself for oneself and for others which give access to the identity referents of the various spheres by concrete examples resulting from the verbalisations of participants in the field. Our interpretation of the results conducts us to describe six provisional identity profiles. Our results offer possible consequences in initial and continuing formation.